Trestle is pleased to present Will Hutnick’s abstract paintings and Jeanne Wilkinson’s photographs and the video installation.
 
Hutnick’s energetic abstract paintings utilize tape, spray paint, ink, acrylic and oil as he simultaneously plays with large, sweeping gestures and minute details. His process is spontaneous, expressive and performative. Often his paintings are finished in one sitting. As he states, the process is “an event, a challenge, an experience.” Trestle explores the dialogue between the surprises that arise from his process and the permanence of the tangible results in his work.
 
Jeanne Wilkinson is formerly an abstract painter who now incorporates her paintings and drawings in animated short films. Her most recent video installation, The Sun and the Horn, celebrates the 2013 Summer Solstice—which coincides with the date of the exhibition’s opening reception. With multiple projectors and translucent scrims, Wilkinson’s figurative, abstract, and kaleidoscopic imagery envelops viewers as they interact with the installation. Adding to the installation’s collaborative and interactive qualities, the audience is invited to wear headdresses made by Wilkinson as they walk between the scrims.
 
Trestle is also presenting photographs from Wilkinson’s series entitled ‘Painted People,’ in which Wilkinson depicts the vision quests and adventures of figurines who travel the earth and beyond.

MINUS SPACE is delighted to present the exhibition Julio Grinblatt: Cielito Lindo. This is the Argentine-born, Brooklyn-based artist’s first solo exhibition in New York and it will feature a suite of unique, large-scale C-print photographs depicting the clear blue sky.
 
An ongoing project, Grinblatt’s Cielito Lindo series stresses how aesthetic notions are generated in relation to the photographic apparatus, in particular the photographic printing process. To create this body of essentially monochromatic photographs, Grinblatt articulated the following four-step premise:
 
1. I took a photograph of a clear sky.
2. I sent the negative to a professional color lab.
3. I asked the printer to print a beautiful sky.
4. Repeat from 2.
 
Julio Grinblatt (b. 1960 in Buenos Aires, Argentina; lives Brooklyn, NY) has exhibited his work in solo and group exhibitions nationally and internationally for the past two decades, including in Argentina, Brazil, Chile, Colombia, Mexico, Spain, Belgium, Finland, Belgium, Italy, and the United States.
 
In 2001, Grinblatt mounted the solo exhibition Uses of Photography at the Museo de Arte Moderno de Buenos Aires (MAMBA) in Buenos Aires, Argentina. He has participated in group exhibitions at museums, such as MoMA PS1, El Museo del Barrio (both New York); Institute of Contemporary Art (Philadelphia, PA); Samuel P. Harn Museum of Art (Gainsville, FL); Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain); Museum of Fine Arts (Brussels, Belgium); Amos Anderson Art Museum (Helsinki, Finland); and Museo de Arte Zapopan (Guadalajara, Mexico), among others.
 
Grinblatt’s work is represented in collections worldwide, including the Museum of Fine Arts Houston (Houston, TX); Portland Art Museum (Portland, OR); Samuel P. Harn Museum of Art (Gainesville, FL); Light Work Permanent Collection (Syracuse, NY); Museo Nacional de Bellas Artes, Museo de Arte Moderno de Buenos Aires (both Buenos Aires, Argentina), and Museum of Modern Art (Rio de Janeiro, Brazil).
 
In 2012, Grinblatt co-curated the survey exhibition Notations: The John Cage Effect Today at Hunter College Times Square Gallery together with Joachim Pissarro, Bibi Calderaro, and Michelle Yun. The exhibition was discussed in-depth by writer Thomas Crow in Artforum’s Best of 2012 issue. Grinblatt is Adjunct Assistant Professor at Hunter College in New York, and he holds an MFA from Hunter College and BS from the Hebrew University of Jerusalem, Israel.
 
ABOUT MINUS SPACE

Now celebrating its 10th year, MINUS SPACE specializes in reductive abstract art on the international level. The gallery presents museum-quality solo and group exhibitions by pioneering emerging, established, and deceased artists at its Brooklyn gallery, as well as at other collaborating venues on the national and international levels.

North of My Brain, South of My Ass: Hats and Shoes by Artists
- Curated by Matt Blackwell and Laurence Hegarty
 
Studio10 presents North of My Brain, South of My Ass: Hats and Shoes by Artists, a group exhibition of work by John Bjekrlie, Steven Brower, Nancy Davidson,Greg Drasler, Matt Freedman, Brian Gaman, Jennie Nichols,Nikki Singleton, Jude Tallichet, Summer Wheat and Moira Williams.
 
Hats and shoes, the parentheses of the self –everything else is in between.
(Kierkegaard)
 
When we asked Moira Williams to explain her “hat” in the show she told us that it was a hat made from bleached newspapers. Newspapers from Bogota Columbia, newspapers that Williams had, while working on her bee-keeping apprenticeship in Columbia, either slept on by night or worn stuffed into her shoes by day. Williams’ specific hope in this was that the words of the newspapers would enter her dreams and she would thus learn Spanish. So, we could try and understand this schematically as, the bees absorb the pollen and make honey while Williams’ body absorbs, in some imprecise way –though perhaps it is a little like the way bees gather pollen– words. Pollen thus becomes honey, while words become knowledge. Words burrow their way –from your dreams, from your feet– into your brain and this is how you come to know something. So in this theory knowledge can be dreamed into a being through bodily contact?
 
It should be noted that this is better deal than Freud. For Freud, as we all know, the dream was merely a wish fulfillment. The dream satisfied some social, sexual or bodily wish, but only mentally; in the dream. All you woke up with was the wish plus the dream. In Freud the dream is a consolation prize. With Williams you learn Spanish.
 
Freud is where much of this sorry tale begins. There we were in the studio one day trying to conjure Freud back to life from silicone rubber and cardboard, a few magical incantations were to be added later. We began, naturally enough, with his hat. That’s when we realized that the hat we were making looked much like the ones our fathers wore back in the late 50’s early 60’s. It also looked like the one we remembered Dick Tracey wearing in Warhol’s painting and the one Belmondo wears as tribute to Bogart in Breathless. In short it (they really) were all over the place. The shoes were next. we wanted to recreate the ones Ray Johnson had made and then mailed to Bert Brecht. After we had made a maquette we consulted an image of the real thing in an old Johnson catalogue: he had made them for John Cage.
 
We decided other artists might be more reliable. A show of other artists making hats and shoes; Freud could wait., being dead a little longer wouldn’t hurt. Richard Hulsenbeck, Sophie Tauber, Joseph Beuys, Hugo Ball all wore great hats. And to come full circle Max Ernst made his 1920 “The hat makes the man” collage, allegedly with a nod to Freud.
 
Matt Blackwell is an artist and curator based in Brooklyn New York
Laurence Hegarty is an artist and curator based in New York City.
 
For more information and images, please contact Annelie McGavin at (718) 852-4396.