Join us for a One Night Stand at the W hotel. Curated by Brigitte Mulholland and Ryan Michael Ford, the exhibition is a selection of seductive artworks that tempt and tease the viewer. Warning: this show may induce strong feelings of connection and leave all parties involved yearning for one more night of togetherness...
Saturday June 24th from 6PM-10PM
W Hotel Residences
8 Albany St. Suite 44D
NY NY 10006
The show will stay up through July 24th; after the opening reception it will be private viewings by request only (wink wink).
Featuring work by:
Monica Cook , Andy Cross , Julie Curtiss, Peter Demos , Ryan Michael Ford , Ben Godward , Eliot Greenwald , Chris Held, Roxanne Jackson, Aaron Johnson, Sam Keller, Hein Koh , Taylor Mckimens, Matthew Miller , Sarah Alice Moran, Rebecca Ness , Nathan Ritterpusch, Rachael Senchoway , Nikita Shoshensky, Summer Wheat, Alex Yudzon
Daniel Gerwin and Eleanor King share a defiant approach to making art. Traditional modes of representation are tossed aside, rejecting the classic canvas, and calling on viewers to remove any preconceived notions of the image. The implications of the “white walls” of a gallery space and their subsequent meaning in a traditional art historical narrative becomes the fuel for their fire of alternate possibilities in art making.
Daniel Gerwin paints on wooden shapes he carves by hand. His painting technique on these shapes seemingly continues in a traditional painterly narrative, yet finds new moments and possibilities. His technical mastery of the medium becomes a subtle tool for subversion, and the artist utilizes radically different hanging heights and installations of his work that mirrors the bold nature of the objects themselves. Eleanor King’s monumental text paintings make the wall and space itself her canvas and medium, tossing viewers into a direct and unexpected relationship with her work. King layers words on top of each other, insisting that the viewer pause and decipher the phrases. Complementing this is the work's sheer size: it is physically much larger than the viewer. Engagement is non-negotiable. The result is an engrossing sort of call to arms.
In “Dimensions Variable,” there is both a mental and physical relationship to the viewer—insisted upon by the artists—that makes the exhibition both a nourishing and challenging experience. The current political climate is naturally embedded in their work; it seems impossible for this not to be the case. The two-- through Gerwin’s rejection of traditional canvas and hanging techniques, and King’s monumental installations--demand a true reckoning with their art, with life, and with the meaning and consequences of making, installing, and seeing in our time. Anyone present and looking is (and must), as King’s largest work in the exhibition states, undermine everything.