Brooklyn, NY —- Transparent Studio at Bose Pacia is pleased to announce the current artist-in-residence, Chitra Ganesh. Her drawing, installation, text-based work, and collaborations seek to excavate and rewrite hidden narratives typically excluded from official canons of history, literature, and art. Her work is inspired by mythology, folklore, sci-fi, Bollywood, comic books and graffiti. During the month long residency, Ganesh will use the space to develop her wall drawings by exploring the use of sculptural elements, printmaking technique and collage ephemera. The public is invited to an Open Studio and Artist Talk on 11th July from 6-9pm. Please contact the gallery to arrange for a visit to the studio between June 18th and July 16th.
 
Born in Brooklyn, New York, Chitra Ganesh received her BA in Comparative Literature and Art Semiotics in 1996 and her MFA from Columbia University in 2002. Ganesh’s work has been exhibited widely at venues including PS 1/MOMA, Brooklyn Museum, the Asia Society, and the Andy Warhol Museum, Fondazione Sandretto in Italy, Nature Morte Berlin, ZKM in Germany, and the Gothenburg Kunsthalle. She is the recipient of numerous awards including the Joan Mitchell Awards for Painting and Sculpture, and a John Simon Guggenheim Creative Arts Fellowship. Ganesh will be the 2012-2013 artist-in-residence at New York University’s A/P/A Institute with Mariam Ghani for their work, Index of the Disappeared. Ganesh lives and works in Brooklyn.
 
About Transparent Studio at Bose Pacia, NY:
Launched in January 2012, Transparent Studio is an artist studio program founded by Bose Pacia. Emerging and mid career artists are selected for the studio program through a submissions and nominations process based on project proposal and artistic merit. Residents are provided with a studio in the main gallery space for a 1-3 month period. By turning the transitional gallery space into temporary artist studios on the street-level in an active arts neighborhood, we are hoping to allow for an atmosphere of engagement and conversation around the creative process. During the program, the public is invited to interact with the artist throughout their creative process allowing exchange and collaborative relationships.
 
Studio hours are by appointment only.
For more information please contact:
 
mail@bosepacia.com (or) +1 212 989 7074

Natural Selection engages the idea of the ‘natural’ from multiple angles: from a purely retinal and aesthetic perspective, from social and cultural points of view and even from a somatic, experiential vantage.
 
Lee Arnold’s Winter Light seeks to represent natural light as pure abstraction. The images take the form of digital collages, which are derived from scanned photographs (shot on film) that were subsequently scanned, cropped, digitally manipulated and output as inkjet prints. These works date from the winter of 2012-2013.
 
Rick Caruso creates paintings by culling abstract forms from intersecting exterior and interior spaces—the industrial, the domestic, the landscape, the cartoon—and transforming these fragments into something analogous to a visual narrative.
Christina Kelly’s installation work is part of her ongoing project: A Field Guide to Office Plants. Here she displays actual potted plants (Sansevieria, Pothos, and the Janet Craig Dracaena form part of the selection) and, through drawings, text and photographs, explores these popular office plant’s source and how they landed in our cubicles.
Michael Krondl utilizes very large photographs derived from fragments of the natural world that locate the viewer in an uncomfortable and even dangerous space. He is exhibiting new work that engages ideas of falling and drowning.

et al Projects is excited to present new artwork by Julian Lorber. This is Lorber’s second solo exhibition with the gallery and will mark the second anniversary of the gallery’s new location in Bushwick with Lorber’s vivid works that include a multidisciplinary display of paintings, photography, and sculpture. Coming off his recent solo exhibition in Europe this past February, which was titled Externalities, Julian Lorber’s exhibition at et al Projects is untitled and continues this momentum with a display of his ability and drive to create intriguing, dynamic art.
 
Lorber has created works from observing the visual effects of urban soot on architecture and interiors and the paint build-up from graffiti writing and outdoor mural painting. Other sources for his works include makeup and automotive spray coating. What these materials and applications are actually adding to the language of painting is part of what the artist is interested in showing us. His process of mixed media layering is what he considers as creating his own “architecture of pollution.” The artist has also included window soot into some of the works as a material metaphor. Moving towards the surface, the artist intensifies the viewing experience with color shading and has an illusory balance of surface and depth. Thinking about economics and the growth of industry and its effects on our culture, Lorber asks questions about a system that is a disconnect between the society in which we live and the natural world that the system relies on. Subverting material hierarchies and confronting the negative and positive externalities around him, Lorber presents his art as a science fiction, and puts the urban environment as the driving force behind human visual experience.
 
May 17 thru June 17, 2013
Opening Reception: May 17, 7pm-10pm
Artist Talk: June 16, 12pm
 
Julian Lorber is an American artist based in Brooklyn, New York. He studied at the Massachusetts College of Art in Boston. He produces art using paint, drawing, collage, video, sculpture and installation art and has exhibited internationally. He has been interviewed in NY Arts Magazine, Frontrunner Magazine and LVL3. His works have been featured in Whitehot Magazine, Arte- Fuse and Studio Visit Magazine, curated by Ian Berry, Senior Director at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College.
 
et al projects | 56 Bogart | Brooklyn NY | 11206 | info@etalprojects.com | 914-498-8328

MINUS SPACE is pleased to present the exhibition Vincent Como: Paradise Lost. This is the Brooklyn-based artist’s first solo exhibition with the gallery and it will feature a suite of small-scale black monochrome paintings illuminated by candlelight.
 
Working in a wide array of media, including installation, painting, drawing, printmaking, and artist books, the subject of Vincent Como’s artistic practice is the color black and he draws on divergent concepts from fields, such as art history, color theory, astrophysics, science, alchemy, philosophy, religion, mythology, and the occult. Como states, “The common denominator and unifying factor in all of these fields is rooted in some form of belief and the human capacity for prehension”.
 
For his new body of work, Como channeled John Milton’s epic poem Paradise Lost (1667), which chronicles the Biblical story of the fall of humankind, the temptation of Adam and Eve by the fallen angel Satan, and their subsequent expulsion from the Garden of Eden. The paintings in this series are produced using the classical oil painting methods and materials of the Old Masters – successive layers of warm and cool black pigment glazes varnished to a highly reflective surface resulting in a profoundly deep pictorial space. Shelves with varying numbers of lit black tapered candles are installed directly below each of the paintings. The flames are reflected in the paintings’ glossy mirror-like surfaces and leave faint traces of heat, smoke, and soot behind.
 
Como remarks, “The works are catalysts; manifest ideas that contain multiple meanings. They are meant to challenge the viewer’s sense of history, memory, evolution, and transcendence”. He continues by saying, “This paradise, as an intellectual or utopian ideal, has failed. It has been misplaced and forgotten”.
 
Vincent Como (b. 1975, Kittanning, PA; lives Brooklyn, NY) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Vienna. Recent solo and group exhibition include Art in General, BRIC Rotunda Gallery, Momenta (all NYC); Samson Projects (Boston, MA); Illinois State Museum (Lockport, IL); Western Exhibitions, University of Illinois (both Chicago, IL); Evanston Art Center (Evanston, IL); SPACES (Cleveland, OH); Urban Institute for Contemporary Arts (Grand Rapids, MI); Art Museum of the University of Memphis (Memphis, TN); and House Gallery (Salt Lake City, UT), among many others.
 
Como’s work was included in two recent group exhibitions with the gallery: Neither Here Nor There But Anywhere and Everywhere (Brooklyn) and MINUS SPACE en Oaxaca (Oaxaca, Mexico). His work has been discussed in publications, such as The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).

Chloë Bass
The Bureau of Self-Recognition
May 31 - June 30, 2013
Opening Reception: Friday, May 31, 6 - 9pm
 
Events:
Friday, June 14, 7pm: Book Launch Party + Artist‘s Talk
Friday, June 21, 7pm: Free Consultations Post Mortem
Sunday, June 23, hourly 3 – 6pm: Closing Performance
 
The Bureau of Self-Recognition is a single installation capturing the results of an long term conceptual project. From October 2011 through December 2012, Chloë Bass performed as the Bureau of Self-Recognition: a business designed to track self-recognition as a process. The project attempts to define the nature of the “daily” as either fully formed within us or as a social construct. Bass conducted various exercises (with herself, with single participants in one-on-one performances, and with larger groups) that used various standardized lenses (a therapist’s office, a bank, a restaurant) as strategies to identify and modify habitual behavior. Individual works within The Bureau of Self-Recognition include Practice of the Daily, Everyday Interiors, Free Consultations, The Bank of Self-Recognition, and Tea Will Be Served.
 
At Momenta, Bass will be presenting phase four of the project. Previous phases examined the theory, practice, and dissemination of the work. Phase four involves both an installation and live performances, allowing viewers to take part in the Bureau both as an art object and as a lived experience. The installation will showcase photo, video, and found object materials produced and/or collected over the course of the full conceptual work. Bass will track three routes through the installation that encourage different experiential outcomes for each viewer. The exhibit coincides with the release of the Bureau of Self-Recognition monograph, published by am i human Press.
 
Friday, June 14, 7pm:
Book Launch Party + Artist‘s Talk
To document some of the experiential work of the Bureau of Self-Recognition, Chloë Bass produced an artist’s book with Jessalyn Wakefield and am i human Press (Portland, Oregon). The book includes essays by Esther Neff and Eric Heist, images produced both by Bass and other project participants, and text by Bass and Wakefield. This event will feature a discussion with both Bass and Wakefield about the art of turning a conceptual performance project into a story, and the collaborative processes shared between performance and book-making. Copies of the book will be available for purchase.
 
Friday, June 21, 7pm:
Free Consultations Post Mortem
From July - December 2012, The Bureau of Self-Recognition held a Free Consultations program: one-on-one performances between Chloë Bass and individual participants. These performances took the form of therapy sessions, during which each participant was asked a standardized set of questions and then asked to complete a simple mirror exercise. Following the initial session, each participant was assigned a personalized exercise, which he or she then conducted for 30 days, sharing the results with Bass.
 
This discussion invites the participants in these performances to share their experience of working with Chloë Bass in a process both intimate and distanced. The conversation will be moderated by Esther Neff.
 
Sunday, June 23, 3 - 6pm:
Closing Performance
For the third and final event associated with the Bureau of Self-Recognition exhibit, Chloë Bass will reprise the private performance offered for the opening. In this performance, Bass will take on the docent's role and lead visitors through a guided tour of the exhibit. Tours will be offered on the hour, and will last for approximately 30 minutes.
 
Chloë Bass is a Brooklyn based performance and conceptual artist. She has received commissions from the Culture Project’s Women Center Stage Festival, the Bushwick Starr’s Bushwhack Festival, and 3rd Ward’s Moviehouse, and residencies from POGON (Zagreb, Croatia) and D21 Kunstraum/5533 art space (Leipzig, Germany and Istanbul, Turkey). Recent artistic work has been seen at Akademie Schloss Solitude, Kunstlerhaus Stuttgart, Exit Art, Contemporary Art Institute of Detroit, ITINERANT Performance Festival, Glasshouse Project, Panoply Performance Laboratory, SCOPE Art Fair, Fountain Miami, Agape Enterprise, and the New Museum’s Festival of Ideas for the New City. Bass received her MFA (Performance and Interactive Media Arts) in 2011 from Brooklyn College and her BA (Theater Studies) in 2006 from Yale University. For more information: chloebass.com.

Pierogi is pleased to present an exhibition of new work by Daniel Zeller. In his sixth exhibition at Pierogi, Zeller’s drawings continue to oscillate between micro and macro views of invented worlds and organisms. Using only graphite or ink and acrylic on paper, he explores incredible nuances of texture and structure that develop into powerful extensions of perceived reality.
 
The language of mark-making and imagery in his drawings to date has been entirely invented based on his interest in satellite images, topographical maps, electron micrographs, anatomical drawings, among others. Recently, Zeller has begun adding to this language elements referencing actual man-made structures and natural phenomena. In one work, “Vatican / al Haram,” his abstract marks surround and coalesce into the footprint of the Vatican complex with a river-like form leading to the mosque structure. In another, “Tar Sands Woodlands,” the organically shaped footprint of the oil sands mining operation in Alberta Canada, is juxtaposed to the rectilinear shape of the Woodlands Church Fellowship Campus, a mega-church in Texas. In each work an actual site is referenced but, as Zeller notes, fact and fiction merge to become something else, and of primary importance is invention through the drawing process.
 
All documents, images, and ideas grow increasingly fictitious with the passage of time and distance from their original context. Fiction, like most things, encompasses a scale ranging from wildly outrageous, to that which can seem indistinguishable from fact. We are inundated with information, virtually all of it containing an unknown ratio of fact and fiction. Each of these drawings incorporates features which have their origins in specific factual information, culled from a variety of sources, satellite imagery predominant among them. While the embedded information acts as something of a scaffold or a seed from which the work develops, the process of drawing remains central and is what ultimately determines the result. (Zeller, 2013)
 
Zeller’s process is direct — a fluid series of spontaneous choices governed by self-imposed rules and conditions. The main rule is to respect what has already been put on the page, not to cross or obscure lines already laid down. A tension between spontaneity and predictability is central to this process, allowing for its inevitable evolution.
 
“A spectacle can be created from the most modest means…. Daniel Zeller manages with just pen and ink, and sometimes just pencil. His drawings…are pulse-quickening, reason-defying wonders, testaments to the boundless potential of the human mind and hand.” He “…traces complexity itself, as a condition, a matter of connections, divergence, transitions and completions, the known and the imagined reconciled with extravagant finesse.” (Leah Ollman, The Los Angeles Times)
 
Zeller’s work has been included in numerous exhibitions and is part of the permanent collections of the Museum of Modern Art (NYC), the Whitney Museum of American Art (NYC), the Albright Knox Museum (NY), among others. He currently lives and works in Brooklyn, New York.

vimeo.com/64899161

ROBERT GRENIER
“Language Objects: Letters in Space, 1970 - 2013”
May 18 - June 30, 2013
Reception for (& presentation by) the artist, Sunday, 19 May 4 - 6 PM
 
SOUTHFIRST is proud to present “Language Objects: Letters in Space, 1970 - 2013,” a retrospective exhibition tracking (via notebooks, holographic & published texts, archival materials and works on paper) the evolution from early typewriter-generated forms to more recent four-color drawing poems in the work of American poet Robert Grenier between 1970 - 2013. The show will be on view from May 18 – June 30, 2013.
 
On Sunday, May 19, 4 - 6 PM, Robert Grenier will introduce the ‘idea’ for the show, and speak to/read from & provisionally ‘interpret’ certain of the materials set forth in the room.
 
Over the past 40 years, poet/artist Robert Grenier (b. 1941) has constantly pushed poetry into new frontiers of practice and utterance. His handwritten poems, produced in the last two decades, cross the upper limit of inscription to be both writing and drawing. His works include Series (This Press, 1978), SENTENCES (Whale Cloth Press, 1978), Oakland (Tuumba Press, 1980), A Day at the Beach (Roof Books, 1984), Phantom Anthems (O Books, 1986), and OWL/ON/BOU/GH (Post-Apollo Press, 1997), as well as more recent online color drawing poem sequences like POND 1 and PENN SCANS. A graduate of Harvard College and the Iowa Writers‘ Workshop, Grenier has received two NEA fellowships for poetry writing and a 2013 grant from the Foundation for Contemporary Arts. An archive of his work is housed in the Stanford Libraries’ Department of Special Collections. He lives in northern Vermont.
 
SOUTHFIRST, founded in 2000, is located at 60 N6th Street in Williamsburg, Brooklyn between Wythe and Kent Avenues. Gallery hours are Fri., Sat. and Sun. from 1 - 6 PM and by appointment. Subway: L train to Bedford Avenue. For more information, please contact Maika Pollack at 718 599 4884 or info@southfirst.org.
 
SOUTHFIRST
60 N6th Street
Brooklyn, NY 11211
718 599 4884
www.southfirst.org

Studio10 is pleased to present The Devil Tricked Me, an exhibition of work by Matt Freedman. The exhibition is organized around the recent publication of Relatively Indolent but Relentless, a graphic journal Freedman wrote last Autumn.
In July 2012 Freedman learned that he had Adenoid Cystic Carcinoma, a rare and slow growing cancer. Treatment entailed thirty-five days of radiation and weekly doses of chemotherapy over seven weeks. Just before treatment, a friend gave Matt a blank notebook and suggested he should fill it up. Matt did complete the therapy and the notebook as well. He said, “It seemed like it would in the end give me the last laugh over my cancer treatment.” This exhibition serves to extend Freedman’s experience of his treatment, the subject of the journal, into the six months that have now passed between the end of treatment and this exhibition’s opening.
All thirteen works take as their subject bad luck. This idea is embodied in Freedman’s iconic constructions that portray folk admonitions. These signs seek to control bad luck by taking such precautions such as avoiding walking under ladders or opening umbrellas indoors. Another significant component of the show is the notion of disability. Freedman continues to feel side effects from his treatment as well as from the drugs he takes to quell those effects. Though functioning effectively, the fact that he should not drive because the narcotics would render him technically “under the influence” is for Freedman an objective marker of what he feels and knows to be true: He is not himself or at his best.
The idea of disability is communicated by hand written signs of explanation, which function as the conceptual framework for the exhibition. Freedman’s sign details the reasons for the restrictions he placed upon himself for the creation of the work: each work consists of totally “de-skilled” labor. He collected objects either from the street; broken umbrellas and cigarette stubs, or from his house and studio; A couch, a collection of pennies. He also allowed himself to use components from previous work repurposed for the show.
Matt Freedman is a sculptor, performer, writer and curator. He has exhibited with Valentine Gallery, Pierogi Gallery, vertexlist, Flipside, Fivemyles, The SculptureCenter and Long Island University. Venues of performances include PS 1 MOMA, The Brooklyn Museum, The Kitchen, Brooklyn Fireproof, Brooklyn Academy of Music at Fivemyles, Galapagos Performance Space. He teaches at the University of Pennsylvania and has taught at The University of Iowa, Parsons the New School for Design, The Pratt Institute, The Rhode Island School of Design. NEA Sculpture (1987, NYFA, Fiction (2000). Freedman has written for Art News, Review and Cabinet, among others. For more information and images, please contact Annelie McGavin at (718) 852-4396.