From November 13 to 21, Recession Art hosted What is the Where?, an exhibition of installations and photography, at the Invisible Dog in Brooklyn. (You may remember from past posts that I help Recession Art with communications and the organization of these exhibits.) That was an insane week, and I have a flurry of photographs as a result. The art was all fantastic. I’ll try to touch on each artists’ pieces with the images below, which range from the opening to exhibition shots. We had over 700 people at the opening! And the nearest train station wasn’t even open! This was our first exhibit to be guest curated, and Risa Shoup did a wonderful job of exploring the ways that art can be, or respond to, a location. In the above photograph, there are the massive wood versions of Brooklyn buildings by Heejung Cho, while on the floors is a memory map by Katrina Boemig, cut as a path of her remembered walks from when she lived in New York.
You can see all the What is the Where? photographs on my flickr. Highlights are below!
Matt Woodward created these elegant graphite works that had a fascinating texture to them. He captures the disappearing detailed beauty of old architecture on huge pieces of paper, almost like they’re rubbings taken directly from the buildings.
This series of photographs by Celia Tobin were all of people jumping, playing, or being submerged in water. They had an interesting documentary feel, and also reminded me of kids playing in the creeks in Oklahoma.
Ryan Frank’s installation was imagined as an entrance to an apartment, with an illuminated mailbox showing photographs of the people who lived there, and a door with a window to the street.
Lawrence Mesich’s installation blended perfectly with the industrial gallery space (it used to be a warehouse and factory), incorporating several grates connected with metal pipes. Behind the grates were videos of mundane offices that could be anywhere, including my own. Only later did I find out these were in fact filmed where I work! Not my office of course, but still, kind of surreal.
Two installations are in this photo, one being a miniature house built by Louise Barry from archictectural plans found in her parents’ basement. The other is a three-dimensional film by A. Bonnel about the cycle of death and rebirth.
The way that these shrines by Elias Necol Melad could be folded up and taken away was appealing. I like art that can transform and be displayed independent of a gallery.
Patrick Serr’s installation had a bed with this rug that I think would fit in perfectly in my apartment. Or maybe I wouldn’t want to see that first thing in the morning, having my fears confirmed before being sent out into the world. Perhaps in using the gallery as locations in my life, I could have this as my paranoid home, the memory map as my commute, and the videos in the grates as the office. No wait, that’s scary.
I thought these knit umbrellas by Evan Roberts added a nice buoyancy to the gallery space. There was even one hanging just outside the entrance.
Ian Addison Hall had these gorgeous collaged photographs, where he’d sliced up images of West Virginia and New York into anonymous landscapes of desolation.
These boxes by Katie Shelly each had video installations that could only be enjoyed by one person at a time. This time was for me.
On one wall, Jess Levey had this video projection of Brooklyn, with old archive images of buildings mixed in with the new, and the recent skyscrapers as photographs on the wall.
At the Opening Party, Jennifer Mills created personalized art for visitors using this system you see here. I’m not sure what it is, but I love it.
This hammer in the illuminated display was created by Stephen Eakin, and a live feed of the antique tool was projected on the floor, mixing the old and new technologies.
Wow, I think that’s all the art! We had 15 artists, hope I didn’t miss anyone.