No Such Thing as an Empty Set final version

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No Such Thing as an Empty Set final version
De Re Animae final version
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Hadieh Shafies recent worksbrilliantly colored rolls and stacks of paper packed into white rectangles, squares, tondos, and even a cubemanaged to walk a thin line between painting and object, concept and image, Iran and the West, with rare stumbles.
Julian Hattons recent paintings speak to a healthy self-confidence not only in his artistic process, but also in the very enterprise of abstract painting.
Joan Snyders current exhibition takes its title from the ancient Roman code of party decorum, where the image of a rose on the banquet hall ceiling functioned as an emblem of confidentiality reminding merrymakers to keep secret the indiscretions made by tongues unhinged by winenot unlike what happens in Vegas stays in Vegas.
When I was a child, I had a set of forty colored pencils that I arranged, rearranged, and then rearranged again in a seemingly endless parade of color sequences, or rainbows, as I called them. This play brought me great joy.
Robert Overby, the Los Angeles-based graphic designer, educator, and artist who died in 1993 of Hodgkin’s disease had an art career that never came into nationalmuch less internationalprominence during his lifetime. Since then, thanks in part to the efforts of his widow, the painter Linda Burnham, his art has finally gotten the attention it deserves, with solo exhibitions and retrospectives in Europe and the U.S., and a presence at art fairs.
he twenty-two paintings in this ten-year survey of Amer Kobaslija’s work at the George Adams Gallery varied widely in size. The two largest were well over six feet across, while the smallest measured three-and-a-half inches to a side.
MoMA’s not-to-be-missed retrospective of Pablo Picasso’s three-dimensional work fills up its entire fourth floor with 141 pieces across eleven galleries, which span a mind-boggling sixty-two yearsfrom 1902, his last year in Barcelona, until 1964, nine years before his death.
Alexandra Hammond reports on prized performance moments at Artist-Run during Miami Art Week 2015.
BPG Member, Alexandra Hammond reports on performance highlights at Artist-Run Miami (Satellite Show) on Performance Is Alive. #performanceart #liveart #performanceisalive #artistrun #unfair #miamiartbasel #miamiartweek @wallieblog #satelliteshow
Watch Trevor Amery's How To Power Nap During an Exhibition on Livestream.com.
Join us this evening via Livestream for Trevor Amery’s work “How to Power Nap During an Exhibition” presented in conjunction with REPOSE: SLEEP AND AUTONOMY IN HYPERCAPITALISM. #repose #baroquepowergroup #trevoramery #livestream #nappinginpublicspaces
@quinndukes and @danpony work out #logistics for Trevor Amory’s #livestream sleeping performance for tomorrow night’s opening of #repose curated by the #baroquepowergroup at 184 Project Space. #pleaseleavecomments #nodrinksonthebed
@charlieschneider31 made a dice game for #repose. Try your hand. #baroquepowergroup
Rendering of The Collapsible Cathedral (not to scale).
THE BAROQUE POWER GROUP presents REPOSE: Sleep and autonomy in hypercapitalism
EXHIBITION DETAILS 184 Project Space OPENING: Friday, October 30th TIME: 6-9pm HOURS BY APPOINTMENT
Artists: Trevor Amery, Mary Jones, Charlie Schneider and Virginia Wagner
LEARN ABOUT THE FEATURED ARTISTS HERE.
“Paradoxically, sleep is a figure for a subjectivity on which power can operate with the least political resistance and a condition that finally cannot be instrumentalized or controlled externally – that evades or frustrates the demands of global consumer society… Maurice Blanchot, Maurice Merleau-Ponty, and Walter Benjamin are only a few of the twentieth-century who have meditated on the profound ambiguity of sleep and the impossibility of positioning it in any binary schema.”
— Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep
EXHIBITION STATEMENT:
Patterns of consumption, work, and recreation have capitulated to the imperium of the 24/7 schedule. Yet as the separation (both in spatial and temporal terms) between zones of working, shopping and domesticity have collapsed under the pressures of hypercapitalism, sleep continues to resist. In the face of the hand-held digital device and the immanence of wearable and implant technologies, the duration of sleep is ever curtailed by an endless stream of pings, chats, emails and updates, in hand, day and night. As diurnal activity has been prolonged by the invention of electric lighting, now economic participation of the subject is extended by undifferentiated flows of information, all mediated and accessible online and onscreen. In addition, an industry has grown around the management of sleep, including pharmaceuticals; sleep aids, bedding, hospitality, and energy drinks. But sleep as an activity remains a no-go zone for any attempts to bring it under the logic of the market—a sleeping body can neither produce, consume, shop, nor post updates.
Sleep asserts the primacy of the body not as a unit of consumption but as an organism in its environmental and evolutionary context. Embedded in circadian rhythms and neuroanatomy, the logic of sleep has increasingly diverged from the demands of the current market economy and the society that produced it, carving out a site of passive resistance. In short, sleep has become an anti-social activity—it questions the very notion of “productivity.” The artists represented in this show make work that addresses sleep as a subversive act against the oppression of the 24/7 economy we inhabit today.
184 Project Space is an ongoing post-relational esthetics art project that intends to undermine the public/private division implicit in traditional art spaces.
Trevor Amery // How to Power Nap During an Exhibition, 2015 // Photo by Kathryn Zazenski
Charlie Schneider // Prototype for “Dice Roll” // 2015 // Digital composite image
Virginia Wagner // "The DJ” // 2011 // 10" x 12” // Oil on mylar
Mary Jones // "A Woman” // 2015 // 11" x 9” // Oil, silver leaf, spray paint, and X-ray on canvas
JD Raenbeau (AP15) is showing work in Queer WAH opening this Friday, October 9 at the Williamsburg Art and Historical Center.
Join me on Friday evening from 6-9pm. Come and play with “With My Hair Up To Heaven”