sonic front presents:
DOKTOR23 (DOK GREGORY)
November 14th 8-10PM
DOKTOR23 (DOK GREGORY) analog & vtol modular synthesizer/theremin/werkbench sampler. Dok has been composing, performing and recording experimental/electronic music since 1983. He has been a member of NYC based audio visual group Amoeba Technology since 1997, toured and performed in festivals throughout the United States, Europe, Russia and South America and had recorded works released in most of the same. Doks' collaborative audio-visual works have been featured in programs at the Forum Des Images in Paris, Basel Art Fair in Switzerland, The Kitchen and Lincoln Center in NYC and elsewhere. In 2007 he began work on the ISRS system (a shortwave radio synthesizer) and continues to research, develop and deploy the technology. Dok has also toured and collaborated extensively as a member of Silence Corporation, Incidence Transmission Network, Psychic TV, Trance Pop Loops, Future Dream Transmissions and the Ransom Corps. He is and has been based in Brooklyn, N.Y. for the past 23 years and is director of the 23 Windows Arts Collective.current projects include: Plan 23(NYC) with Peter Principle/WvS/( ) Byzantine Art Punk Ensemble (NYC/SPb) w/ Alexei Pliousnine/Dmitry Kakhovsky Telesmatic Sound Box (NYC/Helsinki) with Timo Viialainen Sewer Rats BK (NYC) with CX Kidtronic/Jason BK ZGT (NYC) with Peter Principle/Zemi17 www.zgt.me
( ) is Jeremy D. Slater. His sound work consists of field recordings as a base to create processed drones with guitar, objects, ambient noise, and environmental sound. Performances include live performed video that is ambient and reactive. Video work includes single and multiple channel videos for screening and installations with sound and ephemeral sculpture. He is a member of Plan 23, ROTC (Rubaiyats of the Cicadas), Frogwell, and tū. He is currently curator of a "sonic front" at Front Room Gallery, series exploring electroacoustic improvisation, electronic music, and sound art. He's curated numerous performance events and gallery shows in New York including “A Sound Show” at Front Room Gallery, the sound/video performance series “kere.u” and “FLOW”, “Sun Khronos” at Millennium Film Workshop, and “Video as an Instrument” at The Tank and Supreme Trading Gallery. Jeremy Slater was one of the 1999 recipients of the Computer Art Fellowship from New York Foundation of the Arts (NYFA) and has attended the Experimental Television Residency, was guest musician at Watermill Center and HERE with Cave/Leimay, and was artist in residence at Seoul Art Space_Geumcheon in Seoul, South Korea. He has exhibited and performed in the United States, Canada, England, Germany, South Korea, and Japan. www.jeremyslater.net www.parenthesismusic.com
NOT HAPPY is Johnny Scuotto (Synths/Loops), Steven Welbourne (Viola), and Nick John Stevens (Synths).
November 7th - December 28th
Opening: Friday November 7th, 7-9
|"Stacked" oil on panel, 36"x36"|
The paintings in Emily Roz’s exhibition “Ripe” will surely make you blush. Referencing seedpods of a specific Southern Magnolia tree from the artist’s youth in Chapel Hill, these lush, tactile paintings exude the sexuality of the reproduction system of the Magnolia grandiflora. The large, cone-like forms of the Magnolia fruit are made from multiple ovaries, which bear vivid red seeds, that hang from the individual follicles by long silken threads. Roz’s depiction of these intimate parts of the pods is done at a larger scale, which arouses one’s desire for closer inspection.
Emily Roz exaggerates the visceral and sensual qualities of the pods through the use of saturated colors and the drama of baroque light. Roz enhances the shallow visual depth with the macro-texture of each form. She captures each minute detail of the final stages of propagation as the hard, lustrous crimson seeds protrude and penetrate their tantalizing furry enclosures. The exacting detail of these structures is counterbalanced by her use of the flat blue negative space surrounding the pods. These seemingly infinite fields of color paired with intense detail are inspired by Roz’s love of Northern Renaissance and Flemish paintings that use color in both realistic and symbolic ways.
“These paintings are my way of flirting. They want to turn you on, in a painting kind of way. Their texture and shapes may make you blush while their color and light appeals to you on a more cerebral level. Plants and animals have evolved for their essential purpose: to procreate. In these paintings I explore how both artworks and people pull out all the stops to get attention. These paintings are reminders of the universal impulse to use whatever resources we have to attract and connect, physically, emotionally or intellectually.”
- Emily Roz
|"Spooning 2" oil on panel, 36"x36"|
Born in 1972, Emily Roz received a BA from Hampshire College where she studied Art History, Literature and Weaving. She went on to receive an MFA in Fiber from Cranbrook Academy of Art. Her work has been exhibited nationally and internationally. She has been reviewed in The New York Times, New York Magazine, Time Out New York, The Washington Post, Joy Quarterly, W+G Williamsburg News + Art, Apollo Magazine, The Brooklyn Rail and NewCity Chicago. Emily was raised in Chapel Hill, North Carolina and currently works in Queens. She lives on a small island off the coast of North America with her husband and son. This is her third solo show at the Front Room Gallery.
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.