“Spectrum Vision” // A Group Exhibition by AD Projects at Reverse Art Space
by Chad Saville, June 6, 2012
Alex Yudzon, Atlas Clouds: Philippines, 2012, watercolor and acrylic on paper, 11 x 14 inches
New York based curatorial collaborative AD Projects hosted a group exhibition entitledSpectrum Vision this Sunday at Reverse Art Space in Williamsburg. Notable standouts of the show were Alex Yudzon, Jeffrey Beebe, and artist & sculptor Alex Arcadia.
Yudzon’s Atlas Cloud series, mixed media over pages of a 1937 atlas uses lines of demarcation as composition and detail, exploring boundaries of nations and the relevance of symbols that divide form and distance.
“I am incredibly inspired by the concept of travel,” Said Yudzon. “Some of these pieces represent, in broad strokes, what the landscape might look like in the area the map represents, allowing the viewer to fill the finer details with their own imagination.”
Jeffrey Beebe shows a huge cast of characters in The Copper Palanquin, part of a larger series entitled “Adventures in Refractoria.” The characters are numerous and delicately conceived — residents of an imaginary world which parallels Beebe’s own history.
Jeffrey Beebe, The Copper Palanquin, 2010 - 2012, 44 x 90 inches, ink and gouache on paper
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Tagged Alex Arcadia, Alex Yudzon, Allison Berkoy, Amanda Browder, EB Cult, Jacolby Satterwhite, Jeffrey Beebe, Press, Reverse Space, Ryan Brennan, SPECTRUM VISION
AD Projects was happy to help Kenya (Robinson) with her recent performance as part of C24 Gallery’s show Campaign curated by Amy Smith-Stewart. Artnet TV covered the opening and they filmed part of the performance. Check out our own Abby & Jessica in the video around 3:00.
Artnet TV: Campaign at C24 Gallery from Stephanie Szerlip on Vimeo.
Dossier Journal invited us to be their fourth guest contributor to the Look section of their blog, and we gladly accepted. You can see the post here, and we’ve re-posted the images here as well.
Last year, AD Projects coined the term “caméra vivant” to describe narrative, non-documentary camera-based artwork that both captures a performative act and is created with the intention of being experienced by an audience as a video or photograph. We don’t often go around inventing terms, and we deliberated for quite a while before deciding that the concept deserved to be named. We presented CAMERA VIVANT, an exhibition of work by emerging and mid-career artists, at the Central Utah Art Center in February 2011. These images explore this subcategory of new media where performance and the camera, both still and moving, intersect.
(1. Lewis Carroll, Saint George and the Dragon, 1875; 2. Kuba Bakowski, Ursa Major, Bobrek-Centrum Coal Mine, 2008; 3. Gregory Crewdson, Untitled, 2001; 4. Elodie Pong, Video still from Je Suis Une Bombe, 2006; 5. Narcissister, Video still from Mannequin, 2007; 6. Robert ParkeHarrison, From the series titled Architect’s Brother; 7. Bec Stupak, Video still from Flaming Creatures (Blind Remake), 2006; 8. Lucas Samaras, Photo-Transformation, 1976)
The awesome new Ladygunn magazine posted this interview with Lauren Silberman about her new show opening tonight at 200 Avenue A.
GO SEE THIS: LAUREN SILBERMAN, ‘THE RECENT HISTORY’
Lauren Silberman, Dance Dance Isolation
Lauren Silberman is an artist based in NYC. Her images capture urban counter-cultural scenes in a quasi-baroque light. She really creates an environment with her work that leaves room for the viewers’ interpretation or fusion of personal memories to the subject. AD Projects is presenting Lauren Silberman’s The Recent History as the second installment in the rotating series, Reliquary, at 200 Avenue A.Reliquary transforms the vacant Avenue A storefront into a display venue for contemporary artifacts and Lauren’s work is housed perfectly in the setting. Her jaunty wild aftermath images, juxtaposed with the history of 200 Avenue A, makes for a kind of transcendent environment where you’re in the picture but also looking at it. Ladygunn asked Lauren a few questions about her work and most recent exhibit.
What intrigued you about the aftermath of parties?
I’m not just intrigued by any aftermath, but by the aftermath in the DIY spaces that I photograph. See, I’ve been going to parties like Rubulad for years – I think since 1999 or 2000. The Rubulad is my favorite party, and I have seen it go through many iterations; it used to be in Williamsburg right by the bridge, but they eventually lost their space and moved around until they settled in the old Happy Birthday Hideout, which was near the navy yard, which is where I took the image that is in the exhibit. The party is a true labor of love by the people that throw it and work at it. I am really drawn to this care that people put into creating their own culture, and the Rubulad is a perfect example of that. I photograph the aftermath because, for me, it’s the proof of the celebration. I want to see how much love went into making these party spaces beautiful, layered with decorations, and how much love went into trashing them! I love to party – and partying is messy! There’s melancholy in these empty spaces, and event though I’m a pretty happy person, I love beautiful sadness. Read more »
(photo courtesy of Calla di Pietro)
Gothamist ran this post about our new show yesterday. The Wonderpuss Octopus opening was a great success and there are many more photos to follow.
Formerly Frat-tastic Superdive Reopens As Temporary Gallery Tonight
Remember that bar in the East Village, Superdive? The one that finally closed down after months of keggers, all-you-can-drink Champagne Tuesdays, and untold crowds of underage drinkers? Well now, in an unexpected twist of fate, the space that was once home base for beer pong aficionados is getting a dose of straight-up culture, and it’s happening tonight.
Arts organization AD Projects has put together a rotating exhibition at the former Superdive space, where they’re featuring objects by various New York artists displayed on a pedestal in the empty storefront, and a series of Friday-night performances they’re calling SUPERDARK. The whole shebang is supposed to “transform Superdive into a reliquary for contemporary artifacts,” though we’re also just curious to see if they managed to get the smell of PBR out from the floorboards. Based on the sneak peek we got from the pictures above, it actually looks possible.
The exhibit, which runs all through May, is a joint venture between Community Board 3, which has long called for Superdive’s demise, No Longer Empty is part of the Art in Empty Spaces project, in which empty storefronts are turned into galleries. Tonight’s installment features rhinestone-loving Brooklyn-based artist Wonderpuss Octopus. Check AD Project’s blog for more information on upcoming artists and events, and remember, this time they’ll be checking IDs at the door.
Today marks the last day of CAMERA VIVANT. We’re really happy with the outcome of the exhibition, and are diligently working toward a publication. Glen Warchol with the Salt Lake Tribune wrote an article all about the Central Utah Art Center yesterday. We wanted to share an excerpt specifically related to our show:
CUAC’s most recent exhibition, “Camera Vivant,” which ended this week, is an example of its commitment to exposing Utah patrons to cutting-edge contemporary art. The show, curated by the New York City-based AD Projects, includes work by Kuba Bakowski, Allison Berkoy and Julian Opie.
A group of video works are sequestered behind black curtains on the upper floor of the former LDS rolling mill that serves as CUAC’s main gallery. The videos by Narcisister and Bec Stupak and Jack Smith include nudity, screened from the rest of the exhibit with a posted warning about “explicit content.”
Bateman and Latimer acknowledge “Camera Vivant” is a step beyond anything seen before in Ephraim — or even for most urban Utah exhibits, for that matter. “It was a bold move and the show is incredibly strong,” Latimer says. “Typically speaking, you would expect there might be problems; you never know what is going to happen.
CUAC works to maintain a close relationship with Ephraim’s city council and mayor. “I explained to them that this work is here and there might be some response,” Latimer says. “They agreed with our decisions and how we handled it.”
Bateman says the community supports CUAC and the center’s efforts to challenge viewers. “Those pieces are among the most relevant work to ever be shown in the state. There is no question about their artistic value.”
Lambson, of BYU’s MOA, labels the show “fantastic.” “I’d be curious to see how people are reacting to the dicier art works,” he says. “Museums and galleries have an obligation to serving their audience. But they also have an obligation to teach and expose people to everything.”
Latimer is confident CUAC’s influence will grow. “Everything is moving in the right direction. Our funding is going up and our national reputation is rising. Our goal is that CUAC becomes a voice and destination for contemporary art.”
In that direction, Bateman hopes to expand the residency program to expose more artists to Utah — and Utah to ever-higher doses of contemporary art. “Critical mass has finally happened.”
We just read an article from Salt Lake City Weekly and wanted to share what they had to say about CAMERA VIVANT. The original was originally posted yesterday, February 23rd, and I’m copying the text in full below. There’s still one week to see what they consider “one of the more challenging works in a Utah institution. Ever.”
Curated by AD Projects (a NYC-based independent collective of curators), and presented by the Central Utah Art Center, this group show is one of the more challenging works in a Utah institution. Ever.
That mostly has to do with the fact that showing “explicit” art i.e. works with nudity—especially where video, photography or performance is concerned—is risky for most institutions. That the ice is being broken not in our state’s capital, but in Ephraim, is pretty amazing.
The exhibition, aiming to reveal a distinction between using a camera as a documentation device and using it to shape a performative act, highlights eight contemporary artists working in new media. Yes, there are two videos that contain nudity—they’re tastefully arranged so that viewers are warned and can choose to watch—and address gender, narcissism and the medium of film in an adult way. And they are important. But the rest of the show is also interesting and thoughtfully composed. Worth the risk, worth the trip.
Camera Vivant @ Central Utah Art Center, 86 N. Main, Ephraim, 801-214-8278, Feb. 11-March 4.CUArtCenter.org