Fountain Miami Art Fair 2011


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If you are in Miami this December
VISIT US AT FOUNTAIN ART FAIR


Dates: December 1-4, 2011
Location: 2505 N. Miami Ave at the corner
of 25th St., Miami FL
Website:
fountainexhibit.com


General Hours: 12pm–7pm
daily
Tickets:
$10 daily / $15 weekend pass. All tickets sold at door.


Special Events:

Thursday, December 01
12pm – 5pm:
VIP/Press Preview

Friday, December 02
7pm - 12am:
Artlog Presents Opening Night Reception: Fab 5 Freddy, Ninjasonik,
NSR

Saturday, December 03
7pm – midnight: Miami New Times
Presents:
DJ Laura (of Miami), Entresol

Peter Fox: Artist Talk and Closing Reception this Sunday at 5pm

Join us this Sunday at 5pm for:
Peter Fox
Peter Fox
Artist's Talk and Closing Reception

This Sunday, November 20th, 5pm
At The Front Room


This Sunday Peter Fox will discuss his unique process, working style, influences and motivations. This is the last day of the exhibition, be sure not to miss it.



"Trick Question," is a solo exhibition of drip and stencil paintings by Peter Fox. Peter Fox’s paintings are loaded. Loaded with paint and texture, loaded with context in their relationship to movements in formal and conceptual art, and overflowing with color. They have been described as Op Art, Abstract Expressionism, Pop Art, and Punk Rock, or a mixture of all of them.

Peter FoxIn his "Process" series Fox creates directed forms through composed accident, creating a visual structure that accumulates on the surface of each painting, developing a textural world of color that is drenched in abstraction. Entering a new arena of self-reflexive discourse, Fox has established a nuanced language, built from his vocabulary developed through his signature style of drip painting.

Peter Fox's stencil paintings act as a counterpoint to the copious tactile forms in his "Process" series, extracting the compositional structure of selected, individual brightly banded droplets. Fox analyses the arc of color-separations formed through gravity and translates them into articled shapes that reference the fluidity of natural interventions. While referencing the form and structure developed through chance, Fox utilizes a stencil artifice to enact an authority over the outcome of each composition. These works create an eye popping display of luscious color and forms, pulling out all of the stops.

"Bibliomania" curated by Mary Birmingham at the Visual Arts Center of New Jersey, through December 11

nj.com

New art exhibits show disappearance of paper books in electronic age

Published: Tuesday, November 15, 2011, 7:20 AM Updated: Tuesday, November 15, 2011, 3:13 PM
Dan Bischoff/For The Star-Ledger
weight-of-words.JPG“The Weight of Words,” 2010, a watercolor on paper, 30 x 22 in., by Thomas Broadbent, is part of "€œBibliomania,"€ a new exhibit at the Visual Arts Center of New Jersey.

Two new exhibitions, one at Grounds for Sculpture in Hamilton and another at the Visual Arts Center of New Jersey in Summit, are devoted to books — but they’re not literary at all.

Instead, both shows try to take the measure of books as symbols of knowledge and its loss in an electronic information age, and then try to repurpose the book as a particularly potent visual metaphor.

Books, of course, have been collectibles for a long time — Sotheby’s and Christie’s, the two leading fine art auction houses, began as rare-book dealers in the 18th century, after all. And, given the way popular forms of mass communication have become fine arts once technology supersedes them (think lithography and silkscreens), it seems utterly natural that artists would find the physical presence of the paper book an important subject just as it seems to fade away.

In the Visual Arts Center’s “Bibliomania,” curated by Mary Birmingham, all the paradoxes of the book are explored by 10 artists, ranging from beautiful and vaguely snarky watercolors by Thomas Broadbent (his “The Weight of Words,” 2010, shows a pile of heavy books teetering over a tiny blue songbird, like Godzilla over Bambi) to Nina Katchadourian’s “Sorted Books” project, which involves the artist lining up book titles to form a sentence. Like, for example, “Primitive Art,” which uses the spines of four books to spell out “Primitive Art/Just Imagine/Picasso/Raised by Wolves.” Katchadourian has realized her program in private homes, libraries, altogether at more than 130 sites, many quite outside the normal run of visual arts venues.

What is immediately apparent in the Summit show is the easy analogy that can be made between books and other forms of found-object assemblage — paper books are sculptural objects, almost like bricks, but they show the individual marks of wear and tear as clearly as any used tool. Ryan Brown and Richard Baker both reproduce battered book covers as documents of use and hard-won knowledge; on the other hand, Brandon Lattu reproduces book covers digitally on hard plastic shells that look just like brand new books when packed tightly together, but are in fact entirely empty.

“Din of Murmurs” at the Grounds is similar but very, very different. Grounds is showing a small selection of the “GlassBook Project,” begun by Nick Kline, an assistant professor in the Arts, Culture, and Media Department at Rutgers-Newark, and Helga Luest, president of Witness Justice, an advocacy group for trauma victims. They met again four years ago at their high school reunion in Sparta, and Kline, who had just visited the GlassWorks studio in Newark, thought his students could make socially engaged art based on the stories of survivors of violence.

Kline thought “books” made of fused glass were the perfect medium for these stories. Small enough to fill your hand but big enough to contain a world, books are a bit like people (in Ray Bradbury’s “Fahrenheit 451,” people willingly devote themselves to memorizing a single book and then take its title as their name). Kline brings other fine artists in as advisers as well as trauma survivors and community groups, and his award-winning project has produced work about everything from domestic abuse to world peace, using every glass technique from kiln-firing to sand-blasting to etching words on wine bottles.

“This is not art as therapy,” Kline says, “but as metaphor: People, like glass, can break. … The great thing about the books is the way they create an immediate sense of empathy. Helga takes a few of them to meetings with politicians or caregivers and they see the point right away; it’s become an advocacy tool for survivors of violence.”

So the GlassBook Project has made an accordion book more than 100 feet long for the Dali Lama’s “Peace Summit,” and an exhibition devoted to special needs kids that was viewed by U.S. Rep. Donald Payne (D-10th Dist), pressing for their support. His class is currently working on a letter in glass to an Ohio judge who’s deciding a controversial child abuse case.

The book is indeed a great metaphor — for themselves as much as for everything else. One piece at the Grounds, a fused glass book submerged in a glass fishbowl, tells you all you need to know: Books are underwater.

Bibliomania
Where: Visual Arts Center of New Jersey, 68 Elm St., Summit
When: Through Dec. 11. Open Mondays to Thursdays, 9:30 a.m. to 8 p.m.; Fridays, 9:30 a.m. to 4:30 p.m.; Saturdays and Sundays, 10 a.m. to 4 p.m.
How much: Free. For more information, call (908) 273-9121 or visit artcenternj.org.

Nick Kline: Din of Murmurs
Where: Grounds for Sculpture, 18 Fairgrounds Road, Hamilton
When: Through Dec. 11. Open Tuesdays to Sundays, 10 a.m. to 6 p.m.
How much: Adults, $12; seniors, $10; children, $8 (children younger than 5 admitted free). For more information, call (609) 586-0616 or visit groundsforsculpture.org.

© 2011 NJ.com. All rights reserved.

11/11/11 Sound Performance and Catalog Release


Friday, November 11th 7-9

Performances by:
ZILMRAH, RICHARD KAMERMAN, tū

and a special catalog release for:
PETER FOX
"Trick Question"



SHOW EXTENDED THROUGH NOV. 20TH


Friday November 11th, Front Room will be presenting an evening of sound performances curated by Jeremy Slater in conjunction with our current exhibition, Peter Fox: Trick Question." With performances by Zilmrah, Richard Kamerman and tū.

ABOUT THE PERFORMERS

"The name Zilmrah is a made up word that came about in the early 90's while I was playing in the band Splungent (also a made up word). As drummer Louis Clausi and I were naming tracks the word Zilmrah was born. Years later as I began to put together this particular project, it really felt right to use Zilmrah as a moniker for it primarily because there are no expectations in words that lack definition; just as the Zilmrah sound defies definition as it morphs through all barrier free genre. In keeping continuity with this loose mantra, I began building my own instruments to redefine the sounds I choose to use and break away from my comfort zones that I already had on other instruments. I found a new way to keep myself honest to my musical belief system. The overall sound shape often change as a result of the energy being conveyed by different collaborators, something I am striving for and evolving with in a way that enables others to channel these individual energies collectively to push the sound somewhere it has not been or needs to visit. As of this writing the current Zilmrah line up is a four piece consisting of Ernest Anderson III on Bass, Free jazz great Marc Edwards on drums, David Tamura on Tenor Sax and myself playing electronics and hand made stringed instruments."
https://www.facebook.com/pages/Z-I-L-M-R-A-H/130725230281693

Richard Kamerman's artistic interest is aimed foremost on the task of magnification. Small sounds, small gestures - made large. Inconsequential events - made important. The vast difference made to a narrative by a small change in focus. Room acoustics, microphone/pickup placement, and amplification are often very important to his live construction of sound, where he places great weight on the embracing of unintended consequences - e.g. errors in translation/format conversion, bursts of feedback, power supply failures. Although primarily a percussionist, he rarely sits behind a drum kit, preferring to explore the percussive behaviors of various repurposed electronics, ranging from computer circuit boards to a system of found mechanical parts - fans, motors, etc - that he has been developing since 2006. Frequent collaborators include Reed Evan Rosenberg (as Tandem Electrics), Anne Guthrie & Billy Gomberg (as Delicate Sen), Steven Flato & Corey Larkin (as Fyxzis), Jordan Topiel Paul, Eric Laska, and the quintet Frogwell.
http://www.richardkamerman.com/

Tamara Yadao and Jeremy D. Slater are the audiovisual performance duo known as tū. Their sound work uses field recordings, spoken word, ambient noise and drones created with guitars, oscillators, radios, voice, and other electronic objects. Investigations may include arbitrary structures in conceptual improvisation, the collective experience of listening in the medium of radio, liminal relationships in sound juxtaposition, phonemic reduction and memory differentiation of sound and signifier. Selected exhibitions and performances include Conflux Festival 2009, FLOW at Front Room Gallery, Cube Considered at Monkeytown, NOISE! Festival 2009 at the Ontological Theater, Recherche, a conference on the work of Marcel Proust at Stony Brook University and the Avant Ghetto series at Zebulon.
http://www.myspace.com/musicoftu

FRONT ROOM GALLERY

Front Room gallery is proud to present "Trick Question" a solo exhibition of drip and stencil paintings by Peter Fox. Friday, November 11, we will be releasing a special exhibition catalog of Peter Fox's new work. "Trick Question" will be on view through February 20th.

Peter Fox’s paintings are loaded. Loaded with paint and texture, loaded with context in their relationship to movements in formal and conceptual art, and overflowing with color. They have been described as Op Art, Abstract Expressionism, Pop Art, and Punk Rock, or a mixture of all of them.

In his "Process" series Fox creates directed forms through composed accident, creating a visual structure that accumulates on the surface of each painting, developing a textural world of color that is drenched in abstraction. Entering a new arena of self-reflexive discourse, Fox has established a nuanced language, built from his vocabulary developed through his signature style of drip painting.

Peter Fox's stencil paintings act as a counterpoint to the copious tactile forms in his "Process" series, extracting the compositional structure of selected, individual brightly banded droplets. Fox analyses the arc of color-separations formed through gravity and translates them into articled shapes that reference the fluidity of natural interventions. While referencing the form and structure developed through chance, Fox utilizes a stencil artifice to enact an authority over the outcome of each composition. These works create an eye popping display of luscious color and forms, pulling out all of the stops