Front Room Gallery is Proud to Present:
Brutal Legacy: A Conversation about Paul Rudolph and his Endangered Masterwork2pm, Sunday September 28th
Fri–Sun 1-6 & by appointment
Please join us for coffee, bagels, and a conversation with Theoharis David, Sean Khorsandi, and William Watson. We will be discussing the imperiled Orange County Government Center, Paul Rudolph’s legacy, and the necessity for preservation. Currently on view at the Front Room is Brutal Legacy, a selection of images by photographer Sean Hemmerle. Taken over the past three years, the images represent the most comprehensive visual archive of the Government Center to date. Doors open at 1:00. The discussion will begin at 2:00, lasting approximately one hour, with a question and answer period to follow.
Architect Theo David was a student and friend of Paul Rudolph. Architect Sean Khorsandi is Co-Dirtector of the Paul Rudolph Foundation. Designer William Watson has been compiling a scholarly archive about the Government Center since 2012. Watson and Hemmerle were awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts in 2013 for their project, Brutal Legacy.
Theoharis David FAIA, is an American born architect/educator of Cypriot origin practicing in New York City and Nicosia, Cyprus. He is a tenured Professor of Architecture, former Faculty President and Chairman of Graduate Architecture at Pratt Institute in Brooklyn. He is also the recipient of the Distinguished Teacher Award 2013-14 from Pratt and holds the title of Institute Professor. He has degrees from Pratt Institute and Yale University, where he studied under Serge Chermayeff and Paul Rudolph.
Sean Khorsandi is an architect in the firm Samuel Anderson Architects in New York, specializing in museum work and laboratories for art and book conservation and preservation. He holds a Bachelors of Architecture from Cooper Union and a Masters of Architecture from Yale University, where he helped process the archives of Eero Saarinen's practice. Involved with the Paul Rudolph Foundation since 2006, Khorsandi has helped expand advocacy efforts and events to support the legacy of Paul Rudolph.
William Watson is a designer and writer practicing in New York. His recent article on the Orange County Government Center, “Paul Rudolph: Song of Deeds,” was published in the Fall 2012 issue of San Rocco Magazine. He is a visiting professor at the Pratt Institute in New York and cofounder of Castro Watson, an interdisciplinary design and research firm. He received his MA from the University of Texas at Austin and his BA in economics from Princeton University. He has worked for Smith-Miller + Hawkinson Architects and Gluckman Mayner Architects in New York, Rubio & Álvarez-Sala Architects in Madrid, and a World Health Organization Collaboration Center in Tokyo.
Sean Hemmerle is a New York based photographer whose work ranges from war zones to contemporary architecture. He has created iconic photographs that reflect the pathos and poetry of the American Rust Belt, including work from Detroit, Pittsburgh, Toledo, Gary, and Albany. Hemmerle has exhibited nationally and internationally, recently in a solo show at the Feroz Galerie in Germany, Paris Photo and AIPAD. He has been showing at Front Room since 1999. His work can be found in public and private collections, including the Museum of Modern Art, the International Center for Photography, The Museum of Fine Arts in Houston, and the Margulies Collection at the Warehouse.
See you tonight for Williamsburg Second Friday. We will be presenting a projection of images from Sean Hemmerle's "Brutal Legacy" exhibition.
Front Room is Proud to Present:
Sept 5th-Oct 5th, 2014
Front Room Gallery is proud to present Brutal Legacy, a solo exhibition of photographs by Brooklyn based artistSean Hemmerle. In this recent series of photographs, Hemmerle shows images of an imperiled Brutalist masterwork, The Orange County Government Centerin Goshen, NY.For the past three years, Hemmerle and designer William Watson have collaborated to produce an archive of photographs and research about Paul Rudolph'sextraordinary Government Center. At this critical juncture, their project aims to understand the structure through the materials and disposition that will bring about its preservation, or its demise, and to illuminate the moment at which a building and an architectural style face proscription.
Reception: Friday, Sept 5th, 7-9Fri–Sun 1-6 & by appointment
Sean Hemmerle and William Watson were awarded a grant from the Graham Foundation for Advanced Studies in Fine Arts in 2013 to continue their efforts. This marks Hemmerle’s fifth solo show with the gallery.
WILLIAMSBURG EVERY SECOND, FRIDAY
Friday September 12th 2014, 7-9pm
Every 2:nd Friday will be taking place on September 12. Participating galleries are:
Cotton Candy Machine
Sept 5th-Oct 5th, 2014
Front Room Gallery is proud to present Brutal Legacy, a solo exhibition of photographs by Brooklyn based artist Sean Hemmerle. In this recent series of photographs, Hemmerle shows images of an imperiled Brutalist masterwork, The Orange County Government Center in Goshen, NY.
Reception: Friday, Sept 5th, 7-9Fri–Sun 1-6 & by appointment
For the past three years, Hemmerle and designer William Watson have collaborated to produce an archive of photographs and research about Paul Rudolph's extraordinary Government Center. At this critical juncture, their project aims to understand the structure through the materials and disposition that will bring about its preservation, or its demise, and to illuminate the moment at which a building and an architectural style face proscription.
The Orange County Government Center has been the focus of an ongoing public debate concerning the viability and relevance of Brutalist architecture. Built in 1967, the Center opened in 1971, at a time of civic optimism, but the building was quickly beset by recessions, political reversals, and negligent maintenance, leaving it damaged and unpopular. Forty years later, local politicians, who considered the complex an economic and visual burden, forced the building’s evacuation and continue to lobby for its full or partial demolition.
The Orange County Government Center is an important example of Paul Rudolph’s sculptural, multi-leveled Brutalist designs, which play with concepts of volume, texture and light; this building is considered one of his finest remaining structures. This series of photographs by Sean Hemmerle embraces the often illusive, experiential quality of the architectural components that make up this unique design.
Sean Hemmerle’s photographs depict the the Government Center’s cavernous spaces, its volumes capped with more than eighty individual rooves. Hemmerle’s rigid and direct photographs reveal the underlying harmony of Rudolph's genius. Within Hemmerle’s photographs the viewer can slip inside the Government Center, illuminated indirectly from periscopic openings and uniquely fitted windows. One can palpably sense Rudolph’s brilliance expressed in the silent concrete chambers accented in hues of aubergine and ochre.
Sometimes I think we build too many goldfish bowls and not enough caves.–Paul Rudolph.
This series strives to aid in the preservation the Government Center by recording it before it is demolished, blighted by neglect, or altered significantly. Sean Hemmerle and William Watson were awarded a grant from the Graham Foundation for Advanced Studies in the Arts in 2013 to continue their efforts. This marks Hemmerle’s fifth solo show with the gallery.
July 2 – August 24, 2014
Opening reception: Wednesday, July 2, 6:00–9:00pm
Closing brunch: Sunday, August 24, 3:00–6:00pm
Amanda Alic + Ethan Crenson
Rachel Feinstein + John Currin
Jolynn Krystosek + Halsey Hathaway
Katherine Newbegin + Todd Knopke
Alexandra Posen + Nils Folke Anderson
Sascha Mallon + Stephen Mallon
Jessica Sucher + Sasha Bezzubov
Kathleen Vance + Daniel Aycock
Cibele Vieira + Peter Fox
Ursula Weissmüller + Robert Ortega
Julia Whitney Barnes + Sean Hemmerle
ABOUT THE WORK:
Amanda Alic and Ethan Crenson collaborated on the video "People in Trees." Very much as the title implies, single figures appear high in a tree in a snowy, quiet, otherwise depopulated landscape. It is ambiguous and meditative. With David Ramirez, John Keefe, Edie Winograde and Matthew Crenson.
World-renowned artist couple, Rachel Feinstein and John Currincollaborated on a graphite drawing of two topless women wearing glasses, based on vintage porn images. The more buxom figure is looking at nude photographs on the floor and the skinnier figure is grasping open a book on top of a stack of other books. In making these works, Rachel draws the playful contours and John elaborates with refined shading.
Jolynn Krystosek's wall mounted gray felt sculpture creates a space of both shallow and infinite depth. The felt works inspire a variety of aesthetic references including hoods, bonnets, or habits and are suggestive of feminine anatomy. Halsey Hathaway’s tall acrylic on dyed canvas painting is imbued with translucent overlapping fields of color. The accumulated forms build up to a space that can be seen both as figure and as void, intentionally allowing the work to change with each viewer’s own subjectivity.
Katherine Newbegin's Chromogenic print of a Mosque in Mumbai is from her solo travels in India during 2010 and 2011. Though Todd initially aimed to select one of Katherine's works from their frequent mutual travels, his love of this charged yet tranquil space won out. Todd Knopke's wall mounted fabric work combines the traditions of American quilting and European tapestry making, mixed with contemporary ideas of collage, painting, and sculpture. The work uses repurposed fabric including his friends and family's clothes, sheets and towels and is reminiscent of a sunny figure emerging from water with mountains in the background.
Alexandra Posen's "Soft Paintings," call on a unique language of abstraction that engages color, transparency, shadow and ephemerality to project imaginary spaces. They are created from translucent painted silk, stretched over wooden bars. Nils Folke Anderson's painted Aquaresin sculpture looks like bent wood on first glance. His sensuous work hovers in the enigmatic territory between abstraction and evocation
Sascha (Prinz zu Schaumburg-Lippe) Mallon's multifaceted drawing, infused with surrealist-influenced narrative, is populated with creatures that are like the unseen within the obvious: animals, half-humans, imaginary hybrid beings in a constant state of change. Stephen Mallon's Chromogenic print "New Grass" was shot on the Coast of Ireland on the day he proposed to Sascha in 2005. It is part of his series about vacation places out of season.
Jessica Sucher and Sasha Bezzubov's collaborative black and white silver gelatin prints are of untended olive trees, found throughout the Palestinian Occupied Territories from their series “Facts on the Ground.” Raggedly beautiful, these trees are visible evidence of Israeli policies that have made many orchards in the West Bank inaccessible to Palestinian farmers. Ties to these trees run deep, and cutting off farmers and families from their orchards is a powerful strategy of symbolic and economic discouragement.
Kathleen Vance's "Rogue Stream" is a site-specific installation of a miniature meandering stream that transverses a wall, connecting intermittently, through the use of wooden trestles. This piece explores issues of ground water rights and environmental issues relative to the source stream referenced in the installation. Daniel Aycock’s “Geisen Family Journal” uses manipulated tintype photographs to trace the lineage of a family that was documented in a found journal written in 1896.
Cibele Vieira and Peter Fox 's selected works are from the era that they got together in 2006. Cibele's photo from her “Single and Looking for…” series explores the nature of relationships and interaction. The works are an invitation to enter and explore a world of desires and expectations on how people relate to each other. Peter's painting “Quiet Sort” was his homecoming gift to Cibele and their newborn son Sam, on their arrival home from the hospital. The painting is from a transitional moment in the evolution of his spilled paint series, shortly before he discovered the striped drip, of which he is known.
Ursula Weissmüller and Robert Ortega installation of drawings, collages and illustrated love letters from the past decade shows the couples passion for each other and the art of paper. The two also collaborated on the design of the show's exhibition card.
Julia Whitney Barnes and Sean Hemmerle's work relates to their travels in Iceland last summer. Julia's oil painting on mylar is from her "Bricks and Stones May Break" series and features cairns (manmade stacks of stones) that have since ancient times been erected as landmarks. For thousands of years they have also been built as sepulchral monuments, or used for defensive, hunting, ceremonial, astronomical and other purposes. The stacks in Julia’s painting are along the road to Þingvallavatn, where the North American and Eurasian continental plates meet. Sean's Chromogenic print shows three pairs of Icelandic sheep in a meadow just below the Eyjafjallajökull Volcano that erupted in 2010, covering in ash all of the immediate area and spanning across a large area of northern Europe. The sheep are immersed in lush greenery and seem unaware of the volcano's previous effects.
Join us this Saturday, June 21st at 8PM for the forth installment of the Mark Stilwell oeuvre which tells the tale of the Super Defense Force and the Tittanno Beasts.
Organized collectively, these performances depict giant robots battling giant monsters created from cardboard and recycled materials also including, experimental rock music composed by Brian Olin, accompanied by an array of video imagery and stop motion animation.
This Saturday's performance, in conjunction with Make Music New York, depicts the titanic struggle between the monsters and robots, Max Salvo, supreme commander of the Super Defense Force and the overlord of the Tittanno Beasts, Kungra exchange heated words, reminiscent of Gulf War era rhetoric.
The Super Defense Force, Operation: God Hammer (War of the Tittanno Beasts)!!!
June 21st, 8PM
Mark Stilwell- Creator
Yoko Stilwell - Creator
Ethan Crenson - Creator/Performer
Christopher Paisley - Creator/Performer
Brian Olin - Musician
Kevin Kozak - Musician
Angelo Roldan - Performer
Mark Gonzalez - Performer
Kangsim Lee - Video Support
June 6th – June 29th, 2014
Featuring works by Mark Warren Jacques, Meryl Pataky, Randy Colosky, Sean Newport, and Sebastian Wahl
Reception: Friday, June 6th, 7-9PMFri–Sun 1-6 & by appointment
Front Room Gallery and guest curator Jillian Mackintosh are pleased to present Reflection/Refraction, a group exhibition based on a contemporary examination of artists who engage the viewers' perception and provoke shifting patterns of forms and optical mixtures of colors. Through various media, including painting, resin, sculpture, neon, ceramic and wood, the artists comment on the history of geometric abstraction.
Reflection/Refraction experiments with science, space and symbolism to tell a modern story. The fierce hues and psychedelic palate is balanced by an organic integration of material and form. Natural forces such as light and shadow challenging the viewer to change their physical viewpoint while spatially creating balance.
The exhibition seeks to explore how our minds react to optical fabrications, allowing us to delve deeper into reality’s notions that are inherently rooted within ourselves. We hope to share with the community a vibrant and engaging selection of artworks from emerging artist from across the country.
About the work:
Mark Warren Jacques’ paintings seek to find equilibrium by stacking clean, geometric shapes and ancient symbols in front of blazing gradients, often creating an almost religious composition.
Similarly, Meryl Pataky combines concepts and imagery of spiritual language, the universe and psychology. These images are made with the elements of the periodic table (noble gases, carbon, silver and sodium) and serve as a foundation for her work.
Randy Colosky takes utilitarian materials and through unorthodox transformation re-contextualize there content. With the engineered ceramic material he works with, the pieces appears solid, however upon further investigation, viewed from certain vantage points the material seems to become momentarily invisible calling into question the initial perception of the object versus its material reality.
Sean Newport’s work manipulates color and light in a way that bends reality. He explores the 3rd and 4th dimension with hand cut geometric shapes tiled together creating peaks and valley's along with ever changing shadows and light play.
Sebastian Wahl’s collages are encased in layers of thick resin, creating physical depth to each hand cut image. Mused by sacred geometry and shamanic visions Whal attempt to channel these inspirations into his work in the form of psychedelic landscapes, iconic, mandalic and spiritual mayhem.