Matthew Buckingham
Celeritas"The cabinet may be exhibited near a window admitting natural daylight, or under a directed artificial light-source. When the work is installed the distance between the light source and the cabinet is measured and divided by the speed of light (299,792,458m/second) to calculate the duration. The resulting time is written with chalk on the board. If the piece is shown under natural light and the exhibition space is open after nightfall the cabinet doors are closed to prevent the statement from becoming false. When the exhibition ends the calculation is erased."
Definition
"An image of the room in London where Samuel Johnson wrote the first dictionary of standard English is projected on one wall of the exhibition space. A recorded voice reflects on the circumstances which brought the dictionary into being; on Johnson’s personal relation to it; and on the nature of dictionaries in general. If language is a virus, as William Burroughs famously asserted, then Samuel Johnson’s top floor ‘dictionary-workshop’ was an intensive incubator for English. The piece questions the growing hegemony of English as an ‘international’ language, and is always presented in the language of the site where it is being exhibited."
Matthew Higgs
Photograph of a Book (Art Is To Enjoy)
Video of a book (Video Art)
From review: “His latest show is called ‘Art in Crisis -- Pictures in Peril,’ after the titles of two old books whose covers he had photographed and now presents, matted and framed, as a pair of artworks of his own. The grand calls-to-arms that now and then ring out through the art world become just two more vintage objects taken off somebody's shelf. The other pieces in this show are actual covers, or end papers, or pages, cut from art books and presented as still more matted and framed works by Higgs. Most of them read as pure abstraction, and speak to how the glories of abstract art are most often consumed and encountered: on coffee tables rather than on museum walls.”
Julie Saul Gallery
Debbie Grossman
“In some of my revisions, I have taken male bodies and rendered them to look like masculine women; in others, I have taken pairs of women, shifted their distance and body language, and brought them closer to create a sense of intimacy. In some of the pictures I have created women so masculine, or so ambiguously gendered, that they may not, for some viewers, clearly read as one gender or the other. I've also left a few images untouched, allowing for another dimension of re-reading Lee's work.”“Because the images of Lee's time in Pie Town are available in high resolution form from the Library of Congress, I was able to get close to Lee's images on a pixel level. For me, working with photographs and editing them so closely in Photoshop is a kind of an intimate act. Zooming in and carving a feminine jaw out of a masculine one, or manipulating the touch of one woman's hand on another's shoulder is a way for me to access and merge my desire with figures which would have otherwise remained frozen in time. I've begun to think of Photoshop itself as my medium - I'm fascinated by the fact that it shares qualities with both photography and drawing. This work creates something that reads as a photograph, and is infinitely reproducible like a photograph, but at the same time depends heavily upon the intervention of my hand.”
Mixed Greens
Christina Mazzalupo
Types of Ways 2, graphite and watercolor on paper tags
Phrenology: A Study, graphite and watercolor on sketch paper
South Light For A Cloudy Day, Chateau De Chamarande, 2008, latex paint on existing architecture
Corner Light French Gothic, 2007, latex paint on installed wall panels, hardwood floor, stain and varnish
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