Priska C. Juschka Fine Art was established in 2001 in the cutting-edge area of Williamsburg, NY, and relocated in 2005 to the Chelsea district of New York City. By representing diverse artists who evoke questions regarding pertinent issues, such as the urban experience, the ever-fluctuating values of contemporary culture and the global socio-political landscape, the gallery wishes to create a continuous dialogue with both the local and international community. The gallery's program is comprised of artists working in different mediums, focusing on unique two and three-dimensional work, as well as groundbreaking site-specific projects.
BIO
The Form Itself
Dates:
Thu Sep 04, 2008 00:00 - Thu Aug 21, 2008
Location:
United States of America
The Form Itself
Curated by Michael Bühler-Rose
Talia Chetrit, Adrian Crabbs, Joy Drury Cox, Van Hanos, David Haxton, Matt Johnson, Ryan Kitson, Roula Partheniou and Austin Willis
September 4 - October 11, 2008
Opening reception: Thursday, September 4, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present The Form Itself, curated by Michael Bühler-Rose. The artists in this exhibition engage a variety of mediums in a self-reflective dialogue on the potential and purity of their respective discipline’s forms.
David Haxton and Talia Chetrit both tinker in photographic alchemy. Chetrit reduces photography to its purest element, light, in the form of primary colors and black and white test strips. Haxton records the remnants of performances that investigate the way light creates photographic space.
Adrian Crabbs utilizes a shipping pallet as a printing plate, placing a standard item directly into the art making process. Stripping job applications to their compositional essentials, Joy Drury Cox’s drawings point to the standard institutional space that is between the lines of all potential employment. Through the video recording of chromatic scales, Austin Willis lays bare the basics of video, image and sound, and creates a unique composition that uses his library of footage.
Van Hanos, Matt Johnson, Ryan Kitson and Roula Partheniou create perceptually challenging works that investigate the potential of a variety of visual conventions. Hanos uses faux marbleizing and Venetian plaster techniques that connects abstract painting to a new form of Modernism. Johnson’s work at first reads as an abstract image, but is actually a “Magic Eye” camouflaging a wholly figurative solution. Kitson uses an everyday object to create both a conceptually and emotionally engaging sculpture. Partheniou’s projects challenge the possibilities of standard forms with ready-made canvases representing items of the same dimensions, and Rubik’s cubes forming conceptual sculpture.
Michael Bühler-Rose received a BFA from The School of the Museum of Fine Arts, Boston. He also received an MFA from the University of Florida in Gainesville, Florida as well as a Fulbright Fellowship to India. His work has shown at Bose Pacia, New York, The Museum of Fine Arts, Boston, Die Photographische Sammlung/SK Stiftung Kultur, Cologne, and The Indira Gandhi National Centre for the Arts, New Delhi. His projects have been reviewed in The New York Times, Time Out New York and AM New York.
Talia Chetrit lives and works in New York, NY. She received her BFA from The School of the Art Institute of Chicago in 2004, and earned an MFA from the Rhode Island School of Design in 2008. That same year, she was awarded a Sheridan Center Teaching Certificate from Brown University in Providence, Rhode Island.
Adrian Crabbs was born in Binghamton, New York. He received a BFA from the School of Visual Arts in New York, NY in 2001. He currently lives and works in New York, NY.
Joy Drury Cox was born in Atlanta, Georgia, where in 2001, she graduated with a BA in English from Emory University. In 2006, she earned her MFA from the School of Art and Art History at the University of Florida in Gainesville, Florida. She currently lives and works in Brooklyn, New York.
Van Hanos lives and works in New York, NY. In 2001, he received a BFA from the Maryland Institute College of Art in Baltimore, Maryland. He is currently enrolled in the Graduate Program at the Columbia University School of the Arts in New York, NY.
David Haxton was born in Indianapolis, Indiana. He has worked as a professional artist and professor for over 23 years. His photographs and films are in numerous permanent collections including those at the Museum of Modern Art and the Whitney Museum of American Art both in New York, NY.
Matt Johnson was born in New York, NY. He lives and works in Los Angeles, California. He received a BFA from the Maryland Institute College of Art in Baltimore, Maryland in 2000, and in 2003, he earned an MFA from the University of California in Los Angeles, California.
Ryan Kitson was born in Mt. View, California. In 2001, he received a BFA in Sculpture with a minor in Art History from the Southern Oregon University in Ashland, Oregon.
Roula Partheniou lives and works in Toronto, Ontario. In 2001, she received her BFA with Honors from the University of Guelph.in Guelph, Ontario in 2001.
Austin Willis lives and works in New York, NY. In 2006, he graduated with a BFA in Electronic Intermedia from the University of Florida in Gainesville, Florida. He is currently pursuing an MFA in Combined Media from Hunter College in New York, NY.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM or by appointment.
Curated by Michael Bühler-Rose
Talia Chetrit, Adrian Crabbs, Joy Drury Cox, Van Hanos, David Haxton, Matt Johnson, Ryan Kitson, Roula Partheniou and Austin Willis
September 4 - October 11, 2008
Opening reception: Thursday, September 4, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present The Form Itself, curated by Michael Bühler-Rose. The artists in this exhibition engage a variety of mediums in a self-reflective dialogue on the potential and purity of their respective discipline’s forms.
David Haxton and Talia Chetrit both tinker in photographic alchemy. Chetrit reduces photography to its purest element, light, in the form of primary colors and black and white test strips. Haxton records the remnants of performances that investigate the way light creates photographic space.
Adrian Crabbs utilizes a shipping pallet as a printing plate, placing a standard item directly into the art making process. Stripping job applications to their compositional essentials, Joy Drury Cox’s drawings point to the standard institutional space that is between the lines of all potential employment. Through the video recording of chromatic scales, Austin Willis lays bare the basics of video, image and sound, and creates a unique composition that uses his library of footage.
Van Hanos, Matt Johnson, Ryan Kitson and Roula Partheniou create perceptually challenging works that investigate the potential of a variety of visual conventions. Hanos uses faux marbleizing and Venetian plaster techniques that connects abstract painting to a new form of Modernism. Johnson’s work at first reads as an abstract image, but is actually a “Magic Eye” camouflaging a wholly figurative solution. Kitson uses an everyday object to create both a conceptually and emotionally engaging sculpture. Partheniou’s projects challenge the possibilities of standard forms with ready-made canvases representing items of the same dimensions, and Rubik’s cubes forming conceptual sculpture.
Michael Bühler-Rose received a BFA from The School of the Museum of Fine Arts, Boston. He also received an MFA from the University of Florida in Gainesville, Florida as well as a Fulbright Fellowship to India. His work has shown at Bose Pacia, New York, The Museum of Fine Arts, Boston, Die Photographische Sammlung/SK Stiftung Kultur, Cologne, and The Indira Gandhi National Centre for the Arts, New Delhi. His projects have been reviewed in The New York Times, Time Out New York and AM New York.
Talia Chetrit lives and works in New York, NY. She received her BFA from The School of the Art Institute of Chicago in 2004, and earned an MFA from the Rhode Island School of Design in 2008. That same year, she was awarded a Sheridan Center Teaching Certificate from Brown University in Providence, Rhode Island.
Adrian Crabbs was born in Binghamton, New York. He received a BFA from the School of Visual Arts in New York, NY in 2001. He currently lives and works in New York, NY.
Joy Drury Cox was born in Atlanta, Georgia, where in 2001, she graduated with a BA in English from Emory University. In 2006, she earned her MFA from the School of Art and Art History at the University of Florida in Gainesville, Florida. She currently lives and works in Brooklyn, New York.
Van Hanos lives and works in New York, NY. In 2001, he received a BFA from the Maryland Institute College of Art in Baltimore, Maryland. He is currently enrolled in the Graduate Program at the Columbia University School of the Arts in New York, NY.
David Haxton was born in Indianapolis, Indiana. He has worked as a professional artist and professor for over 23 years. His photographs and films are in numerous permanent collections including those at the Museum of Modern Art and the Whitney Museum of American Art both in New York, NY.
Matt Johnson was born in New York, NY. He lives and works in Los Angeles, California. He received a BFA from the Maryland Institute College of Art in Baltimore, Maryland in 2000, and in 2003, he earned an MFA from the University of California in Los Angeles, California.
Ryan Kitson was born in Mt. View, California. In 2001, he received a BFA in Sculpture with a minor in Art History from the Southern Oregon University in Ashland, Oregon.
Roula Partheniou lives and works in Toronto, Ontario. In 2001, she received her BFA with Honors from the University of Guelph.in Guelph, Ontario in 2001.
Austin Willis lives and works in New York, NY. In 2006, he graduated with a BFA in Electronic Intermedia from the University of Florida in Gainesville, Florida. He is currently pursuing an MFA in Combined Media from Hunter College in New York, NY.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM or by appointment.
Dana Melamed at Priska C. Juschka Fine Art - Exhibition Extension
Dates:
Tue Nov 27, 2007 00:00 - Tue Nov 27, 2007
Attention:
Please make note of our current exhibition's extension. Dana Melamed's Into the Vortex will be extended through January 5, 2008.
Please feel free to contact the gallery with any questions.
Priska C. Juschka Fine Art
presents
Dana Melamed
Into the Vortex
Works on Paper
November 1, 2007 - extended through January 5, 2008
Priska C. Juschka Fine Art is pleased to present Into the Vortex, Dana Melamed's second solo exhibition at the gallery. In this new series of works on paper, Melamed employs a more aggressive and determined process to construct dark and tumultuous emotional landscapes that tear through the surface.
With multiple layers, Melamed assembles a fictitious urban environment that does not refer to a specific place, nor express a particular narrative—yet carries the weight and intensity of a mute history. Her process begins with sketching a landscape and overlaying it with transparencies of photographs of built structures. She then applies acrylic, various adhesives, and printing waste to the surface and takes a blow torch and a razor to it. As the different materials dissolve into each other—concept and technique coalesce, thus forming the overwhelming impressions of destruction and decay.
The urban experience serves as a trigger and a framework for the emotional turmoil that Melamed sets forth with her fierce and impulsive practice. With obsessive marks and layering, she gives form to the sensations that arise within the stifling and depleted metropolis surroundings.
Her works are typically devoid of actual human presence, yet it is perpetually implied through the inherent devastation. Contrary to her earlier works, Melamed no longer positions the viewers within the eye of the destruction, but provides them instead with a panoramic vantage point from which they can witness the emotional and sensual spectacle that manifests itself in every element of the composition—the debris in the foreground, the distant tunnels, or even the seemingly peaceful clouds in the sky. In so doing, the viewers are not lost amongst the rubble, but rather are placed at a safe distance from which they can observe the demise of one great city after another.
Melamed was born and raised in Israel, and now lives and works in New Jersey. She holds a B.A. in Architectural Studies from Ort Technikum, Israel. She has been the subject of several solo exhibitions and participated in numerous group shows including the Peekskill Project at the Hudson Valley Center for Contemporary Art (2006). Forth coming exhibitions in 2008 will include "Future Tense: Contemporary Views of Post-Utopian Landscape," at the Neuberger Museum of Art and her European solo debut in Brussels, Belgium.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment.
Please make note of our current exhibition's extension. Dana Melamed's Into the Vortex will be extended through January 5, 2008.
Please feel free to contact the gallery with any questions.
Priska C. Juschka Fine Art
presents
Dana Melamed
Into the Vortex
Works on Paper
November 1, 2007 - extended through January 5, 2008
Priska C. Juschka Fine Art is pleased to present Into the Vortex, Dana Melamed's second solo exhibition at the gallery. In this new series of works on paper, Melamed employs a more aggressive and determined process to construct dark and tumultuous emotional landscapes that tear through the surface.
With multiple layers, Melamed assembles a fictitious urban environment that does not refer to a specific place, nor express a particular narrative—yet carries the weight and intensity of a mute history. Her process begins with sketching a landscape and overlaying it with transparencies of photographs of built structures. She then applies acrylic, various adhesives, and printing waste to the surface and takes a blow torch and a razor to it. As the different materials dissolve into each other—concept and technique coalesce, thus forming the overwhelming impressions of destruction and decay.
The urban experience serves as a trigger and a framework for the emotional turmoil that Melamed sets forth with her fierce and impulsive practice. With obsessive marks and layering, she gives form to the sensations that arise within the stifling and depleted metropolis surroundings.
Her works are typically devoid of actual human presence, yet it is perpetually implied through the inherent devastation. Contrary to her earlier works, Melamed no longer positions the viewers within the eye of the destruction, but provides them instead with a panoramic vantage point from which they can witness the emotional and sensual spectacle that manifests itself in every element of the composition—the debris in the foreground, the distant tunnels, or even the seemingly peaceful clouds in the sky. In so doing, the viewers are not lost amongst the rubble, but rather are placed at a safe distance from which they can observe the demise of one great city after another.
Melamed was born and raised in Israel, and now lives and works in New Jersey. She holds a B.A. in Architectural Studies from Ort Technikum, Israel. She has been the subject of several solo exhibitions and participated in numerous group shows including the Peekskill Project at the Hudson Valley Center for Contemporary Art (2006). Forth coming exhibitions in 2008 will include "Future Tense: Contemporary Views of Post-Utopian Landscape," at the Neuberger Museum of Art and her European solo debut in Brussels, Belgium.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment.
Priska C. Juschka Fine Art Presents: Adam Parker Smith - Bold as Love
Dates:
Thu Nov 08, 2007 00:00 - Mon Oct 29, 2007
ADAM PARKER SMITH
Bold as Love
A Mixed Media Exhibition
Produced in conjunction with the Blue Sky Project
November 8 - January 19, 2008
Opening reception: Thursday, November 8, 6-9 PM
Priska C. Juschka Fine Art is pleased to present Bold as Love, Adam Parker Smith’s first solo exhibition in New York City. Created as an illustrative tableau to disseminate Smith’s ongoing explorations involving consumerist addiction to violence and the infatuation with the high school crush, Bold as Love combines craftwork and portraiture in order to present the aftermath of an imagined scene inspired by Ernest Hemingway’s For Whom The Bell Tolls.
Hemingway’s highly criticized novel incorporated actual events that occurred during the Spanish Civil War with a romantic love affair. The horrific executions of fascists in the town of Ronda in 1936 was fictionalized by the author into the novel’s pivotal scene where accused fascists were rounded up, held captive in a small church, made to run a gauntlet of townspeople who brutalized them with every possible tool and finally, forced towards a cliff to fall to their deaths. The debauchery of war and the decline of human rationality was Hemingway’s message to an American society that was witnessing an increase of violence on many fronts. Smith creates a contemporary parallel as well as a parable gleaned from present-day media. Each of the seventy heads on pikes is an individual portrait of society’s members. From celebrities, like Mike Tyson, Anna Nicole Smith and John F. Kennedy, to personal friends of Smith’s and the young artists he works with, the message is that sensationalized death by any means gains the attention of the public.
Why is the glorification of violence addictive, entertaining and even romanticized? Why do we continue to live our love lives in the shadows of an unattainable model of true love? By paralleling the Spanish Civil War, Smith revitalizes an art historical tradition determined by the classical Goya and the contemporary Chapman Brothers. The artist was aesthetically influenced by the fact that some critics considered Hemingway’s writing to be “literary medievalism”. Upon entering the gallery the viewer crosses the threshold of a doorway into a gory gauntlet that is populated by subjects pulled from a fertile environment of fears and longings and polluted with filth, obsessions, crushes, jealousy and grace. The scene is a visual afterward, a place where Smith continuously cites the subjects of love and war. Smith collaborated with seven teenage assistants from the Blue Sky Project during the fabrication of Bold as Love. They chose to depict themselves, family members, and imagined beings as severed heads which gives weight to Smith’s underlying message of death as being another consumerist form of entertainment.
As guilt, fascination and loyalty encroach, flawless heroines confront heart ache, fools distinguish beauty from the grotesque, and the wretched morn the loss of irreproachable purity.
Adam Parker Smith was born and raised in Northern California. He currently lives and works in Brooklyn, NY. He holds a BA in Fine Art from the University of California at Santa Cruz, and an MFA from the Tyler School of Art, Temple University, PA. His work has been exhibited in numerous exhibitions at various institutions, such as The Delaware Center for the Contemporary Arts in Wilmington, DE. This year he will complete studio residencies at Bemis Studio in Omaha, the Art Alliance Rotating Studio Program and Chashama in New York.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment.
Priska C. Juschka Fine Art
547 West 27th Street, 2nd floor
New York, NY 10001
Tel: 1 212 244 4320/ 1 718 782 4100
Fax: 1 212 594 5452
Email: gallery@priskajuschkafineart.com
URL: www.priskajuschkafineart.com
Bold as Love
A Mixed Media Exhibition
Produced in conjunction with the Blue Sky Project
November 8 - January 19, 2008
Opening reception: Thursday, November 8, 6-9 PM
Priska C. Juschka Fine Art is pleased to present Bold as Love, Adam Parker Smith’s first solo exhibition in New York City. Created as an illustrative tableau to disseminate Smith’s ongoing explorations involving consumerist addiction to violence and the infatuation with the high school crush, Bold as Love combines craftwork and portraiture in order to present the aftermath of an imagined scene inspired by Ernest Hemingway’s For Whom The Bell Tolls.
Hemingway’s highly criticized novel incorporated actual events that occurred during the Spanish Civil War with a romantic love affair. The horrific executions of fascists in the town of Ronda in 1936 was fictionalized by the author into the novel’s pivotal scene where accused fascists were rounded up, held captive in a small church, made to run a gauntlet of townspeople who brutalized them with every possible tool and finally, forced towards a cliff to fall to their deaths. The debauchery of war and the decline of human rationality was Hemingway’s message to an American society that was witnessing an increase of violence on many fronts. Smith creates a contemporary parallel as well as a parable gleaned from present-day media. Each of the seventy heads on pikes is an individual portrait of society’s members. From celebrities, like Mike Tyson, Anna Nicole Smith and John F. Kennedy, to personal friends of Smith’s and the young artists he works with, the message is that sensationalized death by any means gains the attention of the public.
Why is the glorification of violence addictive, entertaining and even romanticized? Why do we continue to live our love lives in the shadows of an unattainable model of true love? By paralleling the Spanish Civil War, Smith revitalizes an art historical tradition determined by the classical Goya and the contemporary Chapman Brothers. The artist was aesthetically influenced by the fact that some critics considered Hemingway’s writing to be “literary medievalism”. Upon entering the gallery the viewer crosses the threshold of a doorway into a gory gauntlet that is populated by subjects pulled from a fertile environment of fears and longings and polluted with filth, obsessions, crushes, jealousy and grace. The scene is a visual afterward, a place where Smith continuously cites the subjects of love and war. Smith collaborated with seven teenage assistants from the Blue Sky Project during the fabrication of Bold as Love. They chose to depict themselves, family members, and imagined beings as severed heads which gives weight to Smith’s underlying message of death as being another consumerist form of entertainment.
As guilt, fascination and loyalty encroach, flawless heroines confront heart ache, fools distinguish beauty from the grotesque, and the wretched morn the loss of irreproachable purity.
Adam Parker Smith was born and raised in Northern California. He currently lives and works in Brooklyn, NY. He holds a BA in Fine Art from the University of California at Santa Cruz, and an MFA from the Tyler School of Art, Temple University, PA. His work has been exhibited in numerous exhibitions at various institutions, such as The Delaware Center for the Contemporary Arts in Wilmington, DE. This year he will complete studio residencies at Bemis Studio in Omaha, the Art Alliance Rotating Studio Program and Chashama in New York.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment.
Priska C. Juschka Fine Art
547 West 27th Street, 2nd floor
New York, NY 10001
Tel: 1 212 244 4320/ 1 718 782 4100
Fax: 1 212 594 5452
Email: gallery@priskajuschkafineart.com
URL: www.priskajuschkafineart.com
Into the Vortex
Dates:
Thu Nov 01, 2007 00:00 - Mon Oct 29, 2007
Dana Melamed
Into the Vortex
Works on Paper
November 1 - December 8, 2007
Opening reception: Thursday, November 1, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present Into the Vortex, Dana Melamed's second solo exhibition at the gallery. In this new series of works on paper, Melamed employs a more aggressive and determined process to construct dark and tumultuous emotional landscapes that tear through the surface.
With multiple layers, Melamed assembles a fictitious urban environment that does not refer to a specific place, nor express a particular narrative—yet carries the weight and intensity of a mute history. Her process begins with sketching a landscape and overlaying it with transparencies of photographs of built structures. She then applies acrylic, various adhesives, and printing waste to the surface and takes a blow torch and a razor to it. As the different materials dissolve into each other—concept and technique coalesce, thus forming the overwhelming impressions of destruction and decay.
The urban experience serves as a trigger and a framework for the emotional turmoil that Melamed sets forth with her fierce and impulsive practice. With obsessive marks and layering, she gives form to the sensations that arise within the stifling and depleted metropolis surroundings.
Her works are typically devoid of actual human presence, yet it is perpetually implied through the inherent devastation. Contrary to her earlier works, Melamed no longer positions the viewers within the eye of the destruction, but provides them instead with a panoramic vantage point from which they can witness the emotional and sensual spectacle that manifests itself in every element of the composition—the debris in the foreground, the distant tunnels, or even the seemingly peaceful clouds in the sky. In so doing, the viewers are not lost amongst the rubble, but rather are placed at a safe distance from which they can observe the demise of one great city after another.
Melamed was born and raised in Israel, and now lives and works in New Jersey. She holds a B.A. in Architectural Studies from Ort Technikum, Israel. She has been the subject of several solo exhibitions and participated in numerous group shows including the Peekskill Project at the Hudson Valley Center for Contemporary Art (2006). Forth coming exhibitions in 2008 will include "Future Tense: Contemporary Views of Post-Utopian Landscape," at the Neuberger Museum of Art and her European solo debut in Brussels, Belgium.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment
Priska C. Juschka Fine Art
547 West 27th Street, 2nd floor
New York, NY 10001
Tel: 1 212 244 4320/ 1 718 782 4100
Fax: 1 212 594 5452
Email: gallery@priskajuschkafineart.com
URL: www.priskajuschkafineart.com
Into the Vortex
Works on Paper
November 1 - December 8, 2007
Opening reception: Thursday, November 1, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present Into the Vortex, Dana Melamed's second solo exhibition at the gallery. In this new series of works on paper, Melamed employs a more aggressive and determined process to construct dark and tumultuous emotional landscapes that tear through the surface.
With multiple layers, Melamed assembles a fictitious urban environment that does not refer to a specific place, nor express a particular narrative—yet carries the weight and intensity of a mute history. Her process begins with sketching a landscape and overlaying it with transparencies of photographs of built structures. She then applies acrylic, various adhesives, and printing waste to the surface and takes a blow torch and a razor to it. As the different materials dissolve into each other—concept and technique coalesce, thus forming the overwhelming impressions of destruction and decay.
The urban experience serves as a trigger and a framework for the emotional turmoil that Melamed sets forth with her fierce and impulsive practice. With obsessive marks and layering, she gives form to the sensations that arise within the stifling and depleted metropolis surroundings.
Her works are typically devoid of actual human presence, yet it is perpetually implied through the inherent devastation. Contrary to her earlier works, Melamed no longer positions the viewers within the eye of the destruction, but provides them instead with a panoramic vantage point from which they can witness the emotional and sensual spectacle that manifests itself in every element of the composition—the debris in the foreground, the distant tunnels, or even the seemingly peaceful clouds in the sky. In so doing, the viewers are not lost amongst the rubble, but rather are placed at a safe distance from which they can observe the demise of one great city after another.
Melamed was born and raised in Israel, and now lives and works in New Jersey. She holds a B.A. in Architectural Studies from Ort Technikum, Israel. She has been the subject of several solo exhibitions and participated in numerous group shows including the Peekskill Project at the Hudson Valley Center for Contemporary Art (2006). Forth coming exhibitions in 2008 will include "Future Tense: Contemporary Views of Post-Utopian Landscape," at the Neuberger Museum of Art and her European solo debut in Brussels, Belgium.
GALLERY HOURS: Tuesday - Saturday 11 AM - 6 PM, or by appointment
Priska C. Juschka Fine Art
547 West 27th Street, 2nd floor
New York, NY 10001
Tel: 1 212 244 4320/ 1 718 782 4100
Fax: 1 212 594 5452
Email: gallery@priskajuschkafineart.com
URL: www.priskajuschkafineart.com
Christine Tarkowski at Priska C. Juschka Fine Art
Dates:
Thu Sep 06, 2007 00:00 - Thu Aug 02, 2007
CHRISTINE TARKOWSKI
Whale Oil, Slave Ships and Burning Martyrs
September 6 - October 20, 2007
Opening reception: Thursday, September 6, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present Whale Oil, Slave Ships and Burning Martyrs, Christine Tarkowski's first solo exhibition in New York City. In a monumental mixed media installation, Tarkowski explores the manner in which systems of belief pervade all aspects of our lives, through the construction of her very own faith-based order.
Rather than first articulating the parameters of her new religion and then assembling a congregation, Tarkowski works in a reverse method and begins the process with designing a place of worship, of which a fragment is on display in this exhibition. Referencing R. Buckminister Fuller's geodesic structures and his utopian vision, as well as concepts of sacred geometry-she constructs a cast-concrete dome formation, composed of geometrically patterned triangles and embedded lights. The overall structure evokes at once the mystic aura of Christian cathedrals and the grandeur of the Roman Pantheon.
Accompanying the dome are additional elements that makeup Tarkowski's fabricated belief system-propaganda in the form of broadsides, hymns in the vernacular of alt punk-country, and a photographic (essay-monologue) that serves as a visual legend by way of screen prints and a pamphlet. Provocative and resonant, statements such as "I've got my Insurance {if they keep praying for me}" and "Thirsty Woman if You Drink this Water you'll never be Thirsty Again!", poignantly frame the acute underpinnings of her vision. The hymns, created in collaboration with Jon Langford (of the Mekons), are melodic recitations of related ideas. A grid of color photographs further articulates Tarkowski's critical narrative, as they offer simple visual juxtapositions that chronicle the project as a whole.
Together, these components set the stage for Tarkowski's alternative vision, while maintaining and opposing their original reference point of existing faith-based entities. In reversing the system's development process, and drawing from our immediate societal concerns, Tarkowski delivers a pertinent critique of the current construct of our society.
Tarkowski lives and works in Chicago, IL. She holds a BFA from Parsons School of Design, and an MFA from the School of the Art Institute of Chicago. She has exhibited widely in major institutions such as the Museum of Contemporary Art, Chicago, MASS MoCA, Museum of Contemporary Art, St. Louis, the California Museum of Photography, Riverside, the UCLA Gallery of Architecture and Urban Planning, and the Socrates Sculpture Park in Queens, NY. She is the recipient of numerous awards and grants including a Creative Capital grant (2001) and the Driehaus Award (2005).
GALLERY HOURS: Tuesday - Saturday, 11AM - 6PM, or by appointment.
Whale Oil, Slave Ships and Burning Martyrs
September 6 - October 20, 2007
Opening reception: Thursday, September 6, 6 - 9 PM
Priska C. Juschka Fine Art is pleased to present Whale Oil, Slave Ships and Burning Martyrs, Christine Tarkowski's first solo exhibition in New York City. In a monumental mixed media installation, Tarkowski explores the manner in which systems of belief pervade all aspects of our lives, through the construction of her very own faith-based order.
Rather than first articulating the parameters of her new religion and then assembling a congregation, Tarkowski works in a reverse method and begins the process with designing a place of worship, of which a fragment is on display in this exhibition. Referencing R. Buckminister Fuller's geodesic structures and his utopian vision, as well as concepts of sacred geometry-she constructs a cast-concrete dome formation, composed of geometrically patterned triangles and embedded lights. The overall structure evokes at once the mystic aura of Christian cathedrals and the grandeur of the Roman Pantheon.
Accompanying the dome are additional elements that makeup Tarkowski's fabricated belief system-propaganda in the form of broadsides, hymns in the vernacular of alt punk-country, and a photographic (essay-monologue) that serves as a visual legend by way of screen prints and a pamphlet. Provocative and resonant, statements such as "I've got my Insurance {if they keep praying for me}" and "Thirsty Woman if You Drink this Water you'll never be Thirsty Again!", poignantly frame the acute underpinnings of her vision. The hymns, created in collaboration with Jon Langford (of the Mekons), are melodic recitations of related ideas. A grid of color photographs further articulates Tarkowski's critical narrative, as they offer simple visual juxtapositions that chronicle the project as a whole.
Together, these components set the stage for Tarkowski's alternative vision, while maintaining and opposing their original reference point of existing faith-based entities. In reversing the system's development process, and drawing from our immediate societal concerns, Tarkowski delivers a pertinent critique of the current construct of our society.
Tarkowski lives and works in Chicago, IL. She holds a BFA from Parsons School of Design, and an MFA from the School of the Art Institute of Chicago. She has exhibited widely in major institutions such as the Museum of Contemporary Art, Chicago, MASS MoCA, Museum of Contemporary Art, St. Louis, the California Museum of Photography, Riverside, the UCLA Gallery of Architecture and Urban Planning, and the Socrates Sculpture Park in Queens, NY. She is the recipient of numerous awards and grants including a Creative Capital grant (2001) and the Driehaus Award (2005).
GALLERY HOURS: Tuesday - Saturday, 11AM - 6PM, or by appointment.