Julian Hoeber in conversation with Gloria Sutton

Jessica Silverman Gallery
December 12, 2015

On the occasion of The Inward Turn

Hayal Pozanti | Art Basel Artist of the Day: Hayal Pozanti

“Art Basel Artist of the Day: Hayal Pozanti”


Written by Kate Messinger

December 6, 2015


Julian Hoeber in conversation with Glorian Sutton

Saturday, December 12 at 4:30pm

at Jessica Silverman Gallery


Art historian Gloria Sutton engages LA-based artist Julian Hoeber in a conversation that focuses on how the artist’s work critically transposes architecture and visual art by translating spatial paradigms of the body and the built environment (e.g. exploring notions of interiority, rumination and the liminal). The discussion examines how positivist assumptions about artistic productivity are intentionally frustrated in this new body of work currently on show as “The Inward Turn” at Jessica Silverman Gallery. Referring to pedagogical models of Buckminster Fuller and Black Mountain College, the talk considers the various ways that “failure” can produce meaning for the viewer.


Julian Hoeber (b. 1974, Philadelphia, Pennsylvania) has a BA in Art History from Tufts University, a BFA from the School of the Museum of Fine Arts, Boston, and an MFA from Art Center College of Design, Pasadena. His work is in the permanent collections of the Museum of Modern Art (New York), MOCA Los Angeles, Hammer Museum (Los Angeles), Rosenblum Collection (Paris), Tang Museum (Saratoga Springs New York), Western Bridge Museum (Seattle), Rubell Family Collection (Miami) and Deste Foundation Centre for Contemporary Art (Athens). Hoeber lives and works in Los Angeles.

Gloria Sutton is Assistant Professor of Contemporary Art History at Northeastern University and is a research affiliate in the Art Culture Technology Program at MIT. Her scholarship is invested in the ways that durational media have altered the reception of visual art in the post 1968 period. Her book The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema was published by MIT Press in 2015. Gloria received her doctorate from UCLA and has been a fellow at the Whitney Museum Independent Study Program and the Getty Research Institute. She is the inaugural web editor for Art Journal.

Julian Hoeber | A Scholar’s Airport as the Body’s Proxy: Julian Hoeber’s ‘The Inward Turn’ | SFAQ

“A Scholar’s Airport as the Body’s Proxy: Julian Hoeber’s ‘The Inward Turn’”


Written by Leora Lutz

November 24, 2015


Turn Around: Julian Hoeber’s Latest Solo Show Takes Off

“Turn Around: Julian Hoeber’s Latest Solo Show Takes Off”


Written by Michael Slenske

November 9, 2015


Hayal Pozanti | An Abstract Alphabet | Modern Painters

“An Abstract Alphabet”

Modern Painters

Written by Hunter Braithwaite

November 2015


Jessica Silverman Gallery | FIAC Gallery Picks | Elephant Magazine

“FIAC Gallery Picks”

Elephant Magazine

Written by Emily Steer

October 23, 2015


Nicole Wermers | Sitting Pretty | W Magazine

“Sitting Pretty”

W Magazine

Written by Karin Nelson

November 2015 Issue


Tammy Rae Carland | What Was Withheld: Tammy Rae Carland’s ‘Some Of Us Did Not Die’ | East Bay Express

“What Was Withheld: Tammy Rae Carland’s ‘Some Of Us Did Not Die'”

East Bay Express

Written by Sarah Burke

October 21, 2015


Shannon Finley | Paintings for the Future | New American Paintings

“Paintings for the Future”

New American Paintings

Written by Matt Chavez Smith

October 21, 2015


Hayal Pozanti | Hayal Pozanti on Her Data-Driven Paintings and What It Means to Be Human | Artsy

Hayal Pozanti on Her Data-Driven Paintings and What It Means to Be Human”


Written by Molly Gottschalk

October 16, 2015


Ruairiadh O’Connell | Six Artists to Watch at Frieze | The Art Newspaper

“Six Artists to Watch at Frieze”

The Art Newspaper

Written by Ben Luke

October 15, 2015


Ruairiadh O’Connell | The 15 Best Booths at Frieze London | Artsy

“The 15 Best Booths at Frieze London”


Written by Molly Gottschalk

Octobre 15, 2015


Susanne Winterling | Supercommunity Live: The Climatic Unconscious | The Roxy Theatre

On October 30 and 31, e-flux will present “Supercommunity Live: The Climatic Unconscious,” together with Remai Modern Art Gallery of Saskatchewan. Join e-flux journal editors Julieta Aranda, Brian Kuan Wood, and Anton Vidokle and special guests Kader Attia, Raymond Boisjoly, Natasha Ginwala, Wietske Maas, Pedro Neves Marques, Matteo Pasquinelli, Elizabeth Povinelli, and Mohammad Salemy for two days full of lectures and discussions at the Roxy Theatre in Saskatoon, with screenings of works by Hito Steyerl, Julieta Aranda, Elizabeth Povinelli, Anton Vidokle, Hassan Khan, Susanne Winterling, and others.

Click for more information.

Hugh Scott-Douglas | Solo exhibition | Rosenwald-Wolf Gallery

Solo exhibition

Rosenwald-Wolf Gallery

Opening reception: Friday, October 9, 5:00 – 7:30pm

333 S Broad Street, Philadelphia, PA

Press release

Hayal Pozanti | Deep Learning | Aldrich Contemporary Art Museum

“Deep Learning”

A solo exhibition at Aldrich Contemporary Art Museum

Opening reception: Sunday, November 15th

258 Main St, Ridgefield, CT

Press release

Nicole Wermers | Jeux de lignes | L’Officiel Art

“Jeux de lignes”

L’Officiel Art

Written by Kirsty Bell



Nicole Wermers | Radical Turner Prize show unveiled in Glasgow | BBC

“Radical Turner Prize show unveiled in Glasgow”


Written by Ian Youngs

September 30, 2015


Ruairiadh O’Connell | Artist to Watch | Contemporary Art Society

“Artist to Watch: Ruairiadh O’Connell”

Contemporary Art Society

September 30, 2015


Nicole Wermers | Meet the Turner Prize shortlist, from the musician to the mind-reader | The Guardian

“Meet the Turner Prize shortlist, from the musician to the mind-reader”

The Guardian

Written by Imogen Fox

September 28, 2015



Nicole Wermers | They’re Just Now Getting Into That | FLAUNT

“They’re Just Now Getting Into That”
Flaunt Magazine
Written by Amy Marie Slocum
September 2015

Jessica Silverman Gallery | 500 Best Galleries Worldwide 2015 | Modern Painters

“500 Best Galleries Worldwide 2015”
Jessica Silverman Gallery
Modern Painters
September 2015

Kenneth Baker shares his secrets with Sarah Thornton

Kenneth Baker in conversation with Sarah Thornton 
Jessica Silverman Gallery
July 22, 2015

Synecdoche at Jessica Silverman Gallery | Daily Serving

“Synecdoche at Jessica Silverman Gallery”
Daily Serving
Written by Hana Metzger
July 21, 2015

Ian Wallace | Meta Masculin/Féminin | Art Papers

“Meta Masculin/Féminin”
Art Papers
Written by Monica Westin
July/August 2015

Dashiell Manley and Hugh Scott-Douglas | 8 Emerging Artists to Watch Right Now | DETAILS

“8 Emerging Artists to Watch Right Now”
Written by Maxwell Williams
July 9, 2015

Susanne Winterling | Lobsters, Hormonal Storms, Brittlestars, and Sticky Things – Matter of the World | Xtra Contemporary Art Quarterly

“Lobsters, Hormonal Storms, Brittlestars, and Sticky Things – Matter of the World”
Xtra Contemporary Art Quarterly
Written by Federica Bueti
Summer 2015

Jessica Silverman | The Cognoscente – The Eye of Art Gallerist Jessica Silverman | 7×7

“The Cognoscente – The Eye of Art Gallerist Jessica Silverman”
Written by Elena Wang
June 25, 2015

Amikam Toren | Unorthodox | The Jewish Museum

The Jewish Museum
1109 5th Ave at 92nd St, New York, NY 10128
For more information, click here.

Jessica Silverman Gallery | There’s a cool new thing tech billionaires are spending millions on instead of Ferraris and private islands | Business Insider

“There’s a cool new thing tech billionaires are spending millions on instead of Ferraris and private islands”
Business Insider
Written by Madeline Stone
June 9, 2015

Jessica Silverman | On the Radar | California Home + Design

“On the Radar”
California Home + Design
Written by Lindsey Shook
Summer 2015

Jessica Silverman | Well Hung – Embracing the Contemporary | Monocle

“Well Hung – Embracing the Contemporary”
Written by Ed Stocker
May 24, 2015

Jessica Silverman | Buyer’s Market | C Magazine

“Buyer’s Market”
C Magazine
Written by Elizabeth Khuri Chandler
April 2015

Sean Raspet | Olfactory Fatigue | Frieze

“Olfactory Fatigue”
Written by Alice Hattrick
May 22, 2015


Ian Wallace | Critic’s Pick | Artforum

“Critic’s Pick”
Written by Joseph Akel
May 12, 2015

Jessica Silverman Gallery | Who is Collecting Art in San Francisco, and Why | Artslant

“Who is Collecting Art in San Francisco, and Why”
Written by Leora Lutz
April 16, 2015


Dashiell Manley | Glass Acts | Blouin Artinfo

“Glass Acts”
Blouin Artinfo
Written by Michael Slenske
April 2015

Susanne M. Winterling | Review | Artforum

“Review – Parotta Contemporary Art”
Written by Sven Beckstette
April 2015

Some European countries are now considering proposals to cut cursive handwriting from public-school curricula. A millennia-old cultural technology is fated to vanish; citizens of the future will write using only computer keyboards and screens. Handwriting (at its most fundamental, the marking of a roughened or absorbent ground) and the fine motor skills it requires are being replaced by swiping, dragging, clicking, and tapping—gestures that encounter no physical resistance, and which register on a smooth luminescent surface…


These developments and their repercussions are the subject of Susanne M. Winterling’s most recent work. Her exhibition “Drift” revolved around the motifs of the hand, skin, and radiant surfaces. Her art examines this question: How does our physical contact with the immaterial, illuminated images on electronic displays all around us alter our relation to reality? One of the videos that was on view here, Handstift (Hand Pen), 2014, can be read as an allegory: Seen in close-up, pencils and crayons (symbolizing the age of handwriting) are broken in two over a black mirror, and their splintered halves are then scattered over a blue blanket. The cool sleekness of our screens is echoed in “Über Gewissheit (Screen Version)” (On Certainty [Screen Version]), 2014, a series of five digital prints on acrylic glass that show hazy images of a glove. These picture-objects, with their rounded corners, resemble smartphones or tablet computers, but contrary to this suggestion of manual operability, they stay on their metal wall-mounted shelves, untouched, defeating the crisp depth effect of the glove hovering beneath the reflective dark surface.


The title of the installation Touch Me, 2014, by contrast, can be taken at its word. Panes of black acrylic glass are set up on two easels. Colorful handgrips of the kind that are bolted onto climbing walls encourage the visitor to take the panes and arrange them on pieces of foam mounted on mirrored surfaces, laid out here and there on the floor; as you can take the panes in hand, you encounter the mirror image of your own face (and the gallery space around you). The surfaces of these pieces reflect ambient light, just as powered-off screens do. The framed work A Skin Too Thin (Light to Pink, No.1), 2012, meanwhile, absorbs ambient light, which slowly causes its color to change: It consists of a sheet of photographic paper that has not been treated with fixer. The projected animation Diademseeigel Immersion Prototyp (Diadem Sea Urchin Immersion Prototype), 2014, evokes the world of bioluminescent animals. A pair of white gloves resembling those worn by Mickey Mouse floats through empty space. Propelled solely by a mysterious rotation of the thumbs, the gloves come closer and closer until the viewer can make out individual fibers of the fabric. Then, suddenly, the image of a bioluminescent sea urchin is superimposed on the gloves. The ballet of the animal’s undulating spine resembles human fingers feeling their way in the dark.


Recording and reflection, radiance and refraction: Winterling’s works catalogue the ways light affects bodies and their properties. In view of the effects she showcases, which inevitably involve visual distortion, we have reason to be skeptical of the assumption that light is a particularly persuasive emblem of a higher principle or the Enlightenment’s belief in reason. Reality in all its complexity is literally beyond the grasp of the luminous phenomena on display on the screens that are increasingly our main access to reality. Not without reason do we associate physical contact with sympathetic connection: our devices may have touch screens, but they screen us from the emotions that would come from actually being touched.


Jessica Silverman Gallery | Dallas Art Fair 2015: Sneak peek at 4 must-visit gallery exhibitors | Culture Map Dallas

“Dallas Art Fair 2015: Sneak peek at 4 must-visit gallery exhibitors”
Culture Map Dallas
March 27, 2015

In preparation for the upcoming Dallas Art Fair at Fashion Industry Gallery April 10-12, we chatted with some of the exhibiting galleries to preview what they have in store for local enthusiasts and collectors…

Art fair veteran Jessica Silverman participates in six to eight a year, bringing a curatorial theme that runs through the works in a visually and conceptually engaging way.m For the Dallas Art Fair, Silverman will explore the process of layering, with Dashiell Manley’s stained glass pieces benefiting from the actual location of the booth. Says Silverman, “Our Dallas booth is placed near glass windows, where tons of light floods inside. Not only do glass partitions reflect the concept [of layering], but they also allow natural light to literally shine through the artworks.”

Other abstract and hyper-figurative work by Hugh Scott-Douglas, Ian Wallace, Hayal Pozanti and Ruairiadh will round out the booth. As the gallery’s roster includes artists that have been acquired by the likes of the Tate Museum, MOMA, LACMA and the Whitney, Jessica Silverman is a must-stop on any fairgoer’s agenda.

Hugh Scott Douglas | Solo Exhibition | Blum & Poe

“Solo Exhibition”
Blum & Poe
19 E. 66th Street, New York, NY 10065
Opening reception: Thursday, April 9, 6-8pm
April 9 – May 30, 2015
Press Release

Barbara Kasten | Stages at ICA Philadelphia | The Seen

Stages at ICA Philadelphia”
The Seen 
Written by Joshua Michael Demaree
March 25, 2015

Photographer Barbara Kasten’s work is like a jolt of electricity to the eye. Her signature pieces that feature the fragmentation of form coupled with a studied use of color is instantly striking, capturing the eye’s attention even thirty years after their creation. But it is her craftsmanship, her powerful control of the work’s materiality, that truly holds the viewer’s attention—revealing the sagacity of Kasten’s on-going exploration of the interplay between mediums, specifically sculpture, installation, painting, and photography…


The first major survey of Kasten’s work opened at the University of Pennsylvania’s renowned Institute of Contemporary Art (ICA) in Philadelphia on February 4 and will run through August 16. The exhibition presents a selection of her work from across nearly five decades, as well as the debut of a newly commissioned piece, Axis (2015), paired with ephemera surrounding Kasten’s work in both fine art and commercial contexts, and her role as an activist for women photographers.


That this is Kasten’s first major survey is shocking. While her influence is clear, especially during the Digital Age, her recognition has been minimal despite her place as a dexterous link between 20th century art movements and the 21st century. When surrounded by her work, it becomes instantly clear that Kasten has been heavily influenced by Russian Constructivism and Bauhaus design. In fact, while attending California College of Arts and Crafts, Kasten studied with Trude Guermonprez, herself a second-generation students at the Bauhaus, working in textiles. Kasten’s early work reveals Guermonprez’s influence (whose masterfully weaved textiles transcend into forms and representation previously dominated by sculpture and painting) openly through her use of textile in sculptural works and her Photogenic Painting series of cyanotypes.


Despite these historical references, Kasten keeps an eye ever-forward. The aesthetics and form of her most famous work from the 1980’s, her series of Constructions, capture a distinctly modern visuality. Each construction entails a sculptural installation (Kasten calls them “props”), the arrangement of meticulous lighting, which she then photographed with polaroid film. From her cyanotypes to these constructions, we see Kasten’s fascination with the interplay of three-dimensional spaces translated into two-dimensions, how documenting a space not only flattens it, but confuses it. This confusion is doubly so, since Kasten uses her props (sculptures, glass, and mirrors) and her lighting to fracture the planes of the space, ensuring that the complexities of her three-dimensional constructions are doubled when one dimension is removed.


While Kasten uses this seemingly basic exercise in form as the basis for many of her subsequent series for the next two decades, her aesthetics in doing so have remained prescient of visual cultural tastes. Her architectural site series, in which she moved her constructions to a grand scale by using newly constructed architectural spaces as the set for her variety of mirrors and props and lighting, presents a series of images that evoke the digital age that would come to take unfaltering prominence in less than a decade’s time.


Digital visuality favors the easily fragmented and manipulated. High contrast has, in the past decade, switched to a preference for over-saturation, which has been a characteristic of Kasten’s lighting for the past thirty years. The power in her images are that they once presented a well-crafted foreignness, but now can be found in copies of form and color in hundreds of thousands of Instagram feeds.

Her work, though an inspiration to present day digitally-altered images, does not, however, share in the same infinite reproducibility of those images. In many ways, her work counteracts the idea of the cheap image—that an aesthetic eye and moderate technical skill in Photoshop can create a thing of lasting beauty and fortitude. While these images are demanding of attention, they are essentially without cost or value. Kasten’s work is meticulous and it shows and this, more likely than her foreshadowing taste, is the lasting power of her work.


In a video shown on the ICA’s second floor, we watch as Kasten and her assistants orchestrate Architectural Site 17, August 29, 1988 at the High Museum of Art in Atlanta, Georgia. The event is grueling. Working all night, her and her group arrange and re-arrange props and lighting equipment. Then they sit and wait. She takes photograph after photograph as the light shifts throughout the night. Soon people have arrived for work, but eager to capture how the soft morning light will interact with the site, she has an assistant block the doors. The video illustrates Kasten in masterful control of her art—a kind of control that requires technical skill, determination, and a magisterial attention to detail.


Beyond the impressiveness of Kasten’s prescient eye or her commitment to the quality of her craft, is her devotion to nearly five decades of study to one essential idea: the interplay between three-dimensional and two-dimensional space. This fidelity to creative research is of a bygone era. Art culture—now largely inseparable from digital culture—for many overindebted MFA graduates demands constant reinvention. A personal kind of one-upmanship fostered by a wrongfully enshrined sense of neoliberal individualism.

This is why the show’s newest work, a video titled Axis (2015) that was commissioned for the exhibition, feels cheapened in comparison to her other work. It is a logical step for her studies in light and form over the past decade, but loses the materiality that so endears her earlier work. In a show amassed with concentrated studies of a singular concept through gradually transitioning mediums, the leap to video is a shock. It suffers from its singularity. With this being said, Kasten’s mastery of moving from three to two-dimensions is enough to keep me attentive to any futures attempts she makes in video.


The ICA, which has made a name for itself by coupling exhibitions of new talents with established (and often under-appreciated) powerhouse artists for shows that run for months. The runtime is kept fresh by a focus on amazing programming, bringing in artists and curators to comment on the exhibition, giving it new breath every few weeks (not to mention their frequent celebrity visitors, including both Questlove and Dev Hynes in recent memory). Barbara Kasten: Stages is no different with upcoming discussions with art-designers Peter Shire and Martino Gamper as well as Kasten herself alongside David Hartt, Takeshi Murata, and Sara VanDerBeek.


Matt Lipps | Under Construction – New Positions in American Photography | Pioneer Works

“Under Construction – New Positions in American Photography”
Pioneer Works
159 Pioneer Street, Brooklyn, NY 11231
Group exhibition featuring works by Joshua Citarella, Jessica Eaton, Daniel Gordon, Matthew Leifheit & Cynthia Talmadge, Matt Lipps, Matthew Porter, Sara Cwynar, Kate Steciw and Sara VanDerBeek
Up through April 26. 2015
More information

Hayal Pozanti | No Decoder Ring Necessary | KQED

“No Decoder Ring Necessary”
Written by Sarah Hotchkiss
March 7, 2015

The very first work on the image list for Hayal Pozanti’s solo exhibition at Jessica Silverman Gallery, 10, is both a title and a statistic. In Harper’s Index-like fashion, the image list details the number’s sobering source: “minimum number of stay days required by an inpatient internet-addiction program at a Pennsylvania hospital.”

Each work in Ciphers is a direct translation of data into a glyph alphabet of Pozanti’s own creation. With a limited repertoire of 31 “characters,” Pozanti uses the glyphs to create layered abstractions. A painting titled36 contains the symbols for 3 and 6. These subdued works on canvas are accompanied by sculptures modeled after the shape’s intersections and custom CSS animations of a Windings -like language in motion…

Pozanti’s soothing palette belies the disturbing statistics at the root of her works. Purposefully made in earthy, non-digital tones (think warm grays instead of icy blues), her paintings are full of soft curves and hand-rendered edges. The source statistics pertain mostly to the influence of technology on our social and private lives: self-censorship, limited journalistic freedom, online stalking, surveillance and hacking threats.

Some of the information is shocking: one in ten people check their phones during sex. (Appropriately, 1/10 is painted in fluorescent pink and hot red acrylic.) Some of the information is, sadly, unsurprising: two thirds of those employed in computer occupations in the US are men. (2/3 stretches 6 feet 3 inches tall, a looming, human-sized canvas covered in bland hues of greenish beige.)

The four sculptures in Ciphers are made from blocks of painted foam, carved to reference the intersections of overlapping shapes in the surrounding paintings. The titles are snippets of tech jargon, things you might overhear as a group of start-up employees walk past your office window, like data-positive and chief privacy officer.

For this series, the square canvases become cubes, and the additive process of layering paint is reversed into the subtractive process of carving, shaving and shaping the foam. In varying shades of gray, the bulbous sculptures sit on the floor or atop more cubes – slick powder-coated metal tables.

The CSS animations hang behind the gallery’s front desk, with one monitor in the back showroom. Here the statistics return to the digital realm. The custom animations translate text into Pozanti’s characters, which scroll across the screens horizontally and vertically at varying speeds. It’s a bit like watching data flow in The Matrix. But instead of special-effects mumbo jumbo, these animated loops contain real statistics, making them more like a modern-day version of the 19th-century practice of cross writing.

As the “tech habits of teens” move from left to right, vibrant purple shapes scroll against a sparkly gray background. Next to the muted paintings and sculptures, the monitors practically vibrate.

Despite the density of information and the continuous stream of characters, the animations are impenetrable. Pozanti’s work is a puzzle. Certain discrete shapes become identifiable – or at least I like to think I figured out what “1” looks like – but without the key, the ciphers remain wholly her own.

Pozanti believes privacy and data encryption are the main issues of her generation (she was born in 1983), hence her interest in the statistics at hand. Her substitution cipher may not be advanced cryptography, but it is an enactment of the very issues preoccupying her. Her invented symbols create a framework for each sequential body of work. A letter becomes a glyph, the glyphs combine, their overlap becomes a sculpture, and so on and so forth.

Pozanti’s methodology has the logical precision of sequential steps, and yet it doesn’t grow old. Her 31 characters have been the basis for her practice for the past 5 years. This visual language couches the unsettling in the familiar trappings of abstraction, continuously jolting viewers from complacency to surprise. Just as 10 brings about a moment of self-reflective anxiety (do I have an internet addiction?), the works in Cipher position the viewer within a visualization of their own data, leaving us to consider the implications of freely giving that data to those who would gather it.

Matt Lipps | Figures | Art in General

Curated by Kristen Chappa
Art in General
79 Walker Street, New York, NY
March 3–May 2, 2015
Opening Reception: Tuesday, March 3, 6–8pm
More information

Hugh Scott-Douglas | Open Source: Art at the Eclipse of Capitalism | Galerie Max Hetzler

“Open Source: Art at the Eclipse of Capitalism”
Galerie Max Hetzler 
Berlin: Bleibtreu Straße 45 , D-10623 Berlin-Charlottenburg
March 12 – April 18, 2015
More information

Amikam Toren | Artists for Ikon | Ikon Gallery

“Artists for Ikon”
Ikon Gallery
1 Oozells Street, Birmingham, West Midlands B1 2HS, United Kingdom
April 24 – May 4, 2015
More information

Dashiell Manley | Time seems sometimes to stop | Art Practical

“Time seems sometimes to stop”
Art Practical
February 24, 2015
Written by Danica Willard Sachs

In July 1978, New York’s Museum of Modern Art presented Mirrors and Windows: American Photography Since 1960. Curated by John Szarkowski, the visionary head of MoMA’s department of photography, the exhibition postulated that a photograph is either a mirror, “a romantic expression of the photographer’s sensibility as it projects itself on the things and sights of this world,” or a window “through which the exterior world is explored in all its presence and reality.”1 Szarkowski’s somewhat tidy dichotomy was specific to photography, but it is nonetheless relevant to Dashiell Manley’s paintings and sculptures in Time seems sometimes to stop, which oscillate between the two metaphors. Using the idea and form of the newspaper, the artist examines how information culture can be both a window to, and a reflection of, the larger world…

Manley employs a labor-intensive process to make the large, enveloping New York Times–based paintings that constitute the bulk of the exhibition. For each, he transcribed in watercolor pencil the entire front page of a week-old New York Times onto canvas, covering the surface with pastel words that read both horizontally and vertically. Individual words and phrases are mostly illegible—the result of layering and the physical smearing that occurs as the artist’s hand traverses the canvas. The paintings are finished with a silver-tinted wash, adding a subtle reflective luster that further obscures the text. Ten of these paintings are installed just a few inches apart in the front room, effectively wallpapering the gallery with old news. As viewers, our eyes roam each canvas, seeking words or phrases that would locate them in time and geography, but the artist’s formal choices prevent a resolution.


The small sculptural objects that fill the center of the gallery likewise echo newspaper formatting, but these are less successful. They are perched on nine white pedestals with mirrored sides. They vary in size, each box made from glass, zinc, and silver. Some of their faces are either glazed, so that viewers struggle to see inside, or mirrored, so that we only see ourselves. The top of each pedestal is sized to match the broadsheet format of the Times—a key detail that is not immediately apparent—and the sculptures on top are intended to echo the placement of the photographs on the front page. The tension between mirror and window that makes the paintings so engrossing is lost in these confusing objects.


The exhibition resonates with photographic practices on another level as well, taking its title from an essay by the filmmaker and art critic Hollis Frampton on the serial photography of Eadweard Muybridge.2 In the essay, Frampton asserts that Muybridge sought to make photographs that were more than just frozen moments in time. Manley’s paintings likewise remove newspapers from the mere dichotomy of past and present, news old and new.

Hugh Scott-Douglas | Unfixed: New Paintings | ASU Art Museum

“Unfixed: New Paintings”
ASU Art Museum
51 E. 10th St. Tempe, AZ
Through June 6, 2015
More information

Featuring the work of Katherine Bernhardt, Hugh Scott Douglas, Jeff Elrod, Daniel Lefcourt, Eddie Peake, Avery Singer, Josh Smith and Brad Troemel.
The artists in the exhibition unfix historic notions of what a painting should be. Their works are hybrids of old and new, familiar and surprising media and processes. Through this mix the artists find new ways to make, think about and view painting. The results range from abstractions derived from street and popular culture to computer-generated algorithms printed on canvas. Somehow, they are paintings while also beyond painting.

Susanne M. Winterling | Space Elevator: Streetbodies and Donkeydreams | The Cologne Room

“Space Elevator: Streetbodies and Donkeydreams”
The Cologne Room
2007 Wilshire Blvd. Suite 729, Los Angeles, CA 90057 
January 29 – February 28, 2015 
Opening reception: January 29th, 5pm-7pm

Hayal Pozanti | Painting, Daydreaming and Dancing with Hayal Pozanti | WOVO

“Painting, Daydreaming and Dancing with Hayal Pozanti”
January 14, 2015
Written by Beata Wilczek

Hayal Pozanti was born in 1983 in Istanbul and currently is based in New York. She has studied BA Visual Arts and Communication Design at Sabanci University and MFA Painting/Printmaking at Yale University. Pozanti is known for her acrylic paintings and animated GIFs – both of which depict anthropomorphic forms that evoke linguistic characters and fluctuate between imaginary machines, graphic symbols and figuration. She approaches data, and the storage and dissemination of data in an animistic way, creating hybrid forms; her hand-made digital figures seem to be in the dormant phase before receiving or expelling action. In various ways, the artist creates forms that begin to personify digital tools, a process that introduces a sense of existential physicality to seemingly immaterial networks and processes. With the increasing ephemerality and insecurity of the information age Pozanti’s practice proposes an interface with digital tools that denies the inherent transience of networked data and proposes an Internet reality that is not dislocated from human history…

WOVO: When we met I couldn’t tell where you’re from and I thought your name sounded like a flower in Latin. Can you tell me more about where you’re from; what do you do and also what does your name mean?

HAYAL POZANTI: Thank you, that sounds beautiful. I was born and raised in Istanbul, with an overlay in Houston for elementary school. I am an artist and have been splitting my time between New York, Los Angeles and Berlin for the past two years. My parents fell in love during a hitchhiking trip in the 70’s, and on a later trip met a fisherman who had a  daughter named Hayal. It means daydream in Turkish. They thought it was perfect for a girl.  

WOVO: You have created your own alphabet – have you always been into typography and language?

HP: Yes. In a way, I had to be. From an early age, language has presented itself as an obstacle to overcome. As an only child, I was tasked with finding playmates for myself on our summer beach holidays. At four years old, I was surrounded by European children and had to improvise gestures to communicate. We played for hours in the sand with not a common word between us. Later on, when I turned 8, as our impending move to the United States approached, I asked my father “Will they let me stay even if I don’t speak their language?” My fears were unfounded and I became completely fluent in English within 3 months of our move. These experiences fundamentally changed my understanding of the world. Barriers of language seemed frivolous and obsolete. Presently, my work is an attempt to keep this idealism alive by creating a visual language that transcends the limits of speech.

WOVO: When I look at your work and read about it I can’t escape some references to new materialism and semiotics. Are there any books that have transformed your way of making art? 

HP: Yes. Too many to count. I’m far from my library at the moment but I’ll attempt to make a list. Not in any particular order.  Jean Baudrillard – Passwords, Boris Groys – Art Power, Hal Foster – Design and Crime, Peter Sloterdijk – Spheres, Paul Virilio – The Information Bomb, Jonathan Crary – Suspensions of Perception, Sherry Turkle – The Second Self, Life on the Screen: Identity in the age of the Internet, and Simulation and It’s Discontents, Robert Motherwell -The Writings of Robert Motherwell, Jan Verwoert – The Beauty and Politics of Latency: On the Work of Tomma Abts, Wouter Davidts and Kim Paice – The Fall of The Studio: Artists at Work, All Tiqqun, Hito Steyerel – Wretched of the Screen, Paul Graham – Hackers and Painters, Carolyn L. Kane – Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetic after Code. 

WOVO: Artist Dafna Maimon once told me that she wants to speak 7 languages and that art is also one of them. Do you think that art is a language?

HP: No. I think all artists strive to communicate through art, but I wouldn’t combine their efforts under a universal definition. I like to think that all artist speak their private language. There may be overlaps and families with similar roots, but the beauty is in their uniqueness. 

WOVO: Once when I was working on a site specific projection I ended up with having 3x3m screen, a massive square. In person it was great and overwhelming but online every still looked like an image cropped to fit the Instagram realm. A friend told me then: ‘Instagram killed the square’. But you use the square dimension in this particular reference in you work. Do the social media platforms and technology provide you with a symbolic framework?

HP: Yes, they have been. I studied Visual Communication in university, so my initial impulse is to analyze the world through this perspective. As my practice evolved to include painting, I simultaneously started to think of the work’s representation within the digital world. Our eyes are confined to the dimensions of both the screen and the predetermined media dimensions within screens. It seemed logical to mimic these proportions both in terms of understanding their relationship to my body and also to ensure that the work could exist in both the digital and the physical realms. My paintings have so far been in the exact proportions of iPhones blown up to human size or have mimicked the square of twitter avatars, instagram feeds and Facebook photos.

WOVO: Do you feel that as an artist you have to deliver a concept manifest in the visual form which will be noticeable, liked and acknowledged by a certain group of people?

HP: This is a great question that I think about frequently. Certain aesthetic tropes have overtaken visual production merely because they look better on screens. Instant online sharing enforces us to dream collectively. How can one maintain uniqueness without unplugging? I’ve tried to find a solution to this conundrum by inventing my personal shape system. A unique visual language that does not appropriate but seeks to invent new forms. I would of course like to be acknowledged by my peers whose work I respect, but I would not go out of my way to make my work look like what I believe they would like to see. I feel that all good art finds its audience eventually and the most important thing is to stick to your guns and make what you believe in.

WOVO: I know that you make digital sketches first and paint later. Why do you stick to traditional and tangible methods? Why do you need to paint a painting?

HP: I’ve come to paint in a roundabout way. I guess I used to be what you would call a net artist. In time, sitting for hours in front of a screen generated an undefined anxiety. It felt as if there were hundreds of voices screaming at me simultaneously for attention. I just felt a need to be alone with my thoughts. Or to rediscover what they might have been. I was also frustrated by printing. Printing things never looked as good as they did on a screen and I felt a there was always a failure in translation. In short, painting for me is about making a statement by reclaiming my physicality. By painting, I am stepping away from the computer screen and the immobility it confines my body to. By painting, I am freeing myself of the imposed aesthetic sensibility of computer programs. I am embracing imperfection. Through painting, I can enjoy the physicality of my body without a gym membership. I can think about how colors exist in real life as I mix them. I can meditate on complex thoughts as I fill in large areas of color. I can dance while I work. I continue to make digital work and also program, but it feels great to have both realms coexist in my life. I feel grateful to be part of the lucky few who gets to step away from their computers for extended hours daily.

WOVO: Would you ever consider working with a fashion label? How would you feel as a new Caravaggio on Givenchy sweatshirt?

HP: I worked in fashion for 5 years after I graduated from university. I was designing and producing shop windows for the Turkish equivalent of Barney’s; Beymen. Within the same company, I started designing clothes, t-shirts and fabric patterns (basically whole collections) for its sister street-wear label, t-box. I have also designed a best selling Istanbul t-shirt for Mavi. So it would not be a new experience for me, that’s for sure :)

WOVO: You are based in New York, could you recommend WOVO some exciting places?

HP: Hmm I’m not sure about exciting lol but I like to walk by the river. It’s super close to my house in Chinatown and perfect for morning exercise. I like the Parish Art Museum that’s upstate. Beautiful building and drive upstate. My friends have recently opened a project space at PS1 called ALLGOLD, they’ve been hosting great sound projects.

Jessica Silverman Gallery | As San Francisco Booms, So Does its Gallery Scene | The New York Times

“As San Francisco Booms, So Does its Gallery Scene”
The New York Times
Written by Joseph Akel
January 8, 2015

San Francisco, as has been well documented, is undergoing seismic cultural shifts. The second technology boom has brought an influx of wealth, investors and start-up prospectors to the city, drawing parallels with the gold rush of 1849. Now, as members of the newly well-heeled tech elite look to invest their money, the city’s small but thriving gallery scene is finding itself the recipient of their attention…

“San Francisco feels like the center of the world,” says Sabrina Buell, formerly the director of New York’s Matthew Marks Gallery, who is now a partner in the art advisory firm Zlot Buell + Associates. Buell, a Stanford graduate, helps successful start-up founders – many of them her former college classmates – begin collecting. “The tech community is in many ways defining culture,” she says.

On any given opening night at Jessica Silverman ‘s namesake space in the city’s gritty Tenderloin neighborhood (488 Ellis St.), the crowd is likely to include luminaries of the industry such as the Instagram co-founder Mike Krieger or the Jawbone creator Yves Béhar (Buell’s partner), with whom Silverman collaborated on a curatorial project, “Fused Space,” at his Potrero Hill design studio. “The tech community includes a lot of philanthropic intellectuals that are open to visual experimentation,” Silverman says.

Et Al. (620 Kearney St.), run by Facundo Arganaraz, Jackie Im and Aaron Harbour, is housed in the basement of a dry cleaner’s, exhibiting a well-curated selection of mostly young up-and-coming artists. Meanwhile, housed in 49 Geary Street — a multiuse building that was once the heart of the San Francisco art circuit but now houses mostly tech startups — Claudia Altman-Siegel ‘s eponymous gallery continues to promote a roster of artists that draws critical acclaim and the attention of its neighbors.

To the southeast, Chris Perez’s Ratio 3 (2831A Mission St.), with a line up of art-world darlings including Ryan McGinley and Takeshi Murata, was one of the first galleries to eschew the city center, opening instead in the traditionally Latino, rapidly gentrifying Mission District in 2004. Now that the neighborhood is home to numerous start-ups and nightlife options, other galleries have followed suit. Kiria Koula (3148 22nd St.), founded this past October by Rodrigo Peñafiel and Leticia Vilalta and directed by Juana Berrío, has already made a name for itself; one of its artists, Jose Leon Cerrillo, will be included in this year’s New Museum Triennial.

For gallerists like Silverman and Altman-Siegel, who both have shows opening this week – the 2014 Whitney Biennial participant Dashiell Manley and Matt Keegan, respectively – the interest in their work goes both ways. On one hand, tech collectors are becoming increasingly discerning with regard to contemporary art, pushing gallery owners to exhibit artists with higher profiles. “People in the tech industry,” Ratio 3’s director Theo Elliott says, “are broadly very curious about art.” And though gentrification has caused some artists to leave the city, for others whose work addresses issues of the digital age San Francisco is an increasingly compelling place to live. As Buell observes, “artists want to be where the ideas are.” Local galleries, in turn, are raising their international profiles: Silverman, Ratio 3 and Altman-Siegel will all be showing at the Frieze Art Fair in New York later this year.

The Bay Area tech scene’s invigorated interest in contemporary art extends beyond gallery walls. Illuminating the western span of the city’s Bay Bridge, Leo Villareal’s $8 million computer-programmed light sculpture installation, “Bay Lights,” was made possible in part by donations from Marissa Mayer and the tech-world power couple Mark and Ali Pincus of Zynga and One Kings Lane. And with a massive expansion project underway by the Oslo-based architecture firm Snøhetta, the San Francisco Museum of Modern Art has since 2010 brought on 12 new board members, at least half of whom come from the tech sector. And last September, at the opening night gala for Ai Weiwei’s Alcatraz-based installation “@Large,” many of the tech world’s heavy hitters — the Goodreads co-founder Elizabeth Chandler, Pincus and Béhar among them — mingled with art world movers and shakers. Throughout the night, attendees could be overheard discussing apps and and art exhibitions with equal enthusiasm. Entrepreneurs, as Buell says, “find points of deep resonance with the artistic community.”

Ian Wallace | The Construction Site | Catriona Jeffries

“The Construction Site”
January 17 – February 28, 2015
Opening reception: Friday, January 16, 7-9pm
More information

The Construction Site as a Work in Progress: Contradiction in Suspension

Images of construction sites, excavations and buildings in progress first appeared in my photographic work in the late 1960s. In this early photographic work these images appeared as an ironic picturesque backdrop to a photojournalistic investigation of the urban and suburban landscape. I initially was attracted to the ironic logic of Robert Smithson’s comment that construction sites were “ruins in reverse”; that “buildings don’t fall into ruin after they are built, but rise into ruin before they are built.” I often looked at these “landscapes of incompleteness” as ravaged terrain from a personal melancholic mindset. In the 1970s, I became increasingly interested in the Constructivist movement in the Russian Avant-garde in the early twentieth century and their optimistic concepts of the central role of art and architecture in the construction of the new world. The motif of the construction site provided pictorial metaphors for poetic and political themes that were often contradictory, and thus offered a fertile vehicle for varied interpretation and conceptual mutation…

 Since the early 1990s, I have made several works that focus on the construction site. In a large five-part series titled Construction Site (The Barcelona Series) of 1992, I photographed the housing construction for the summer Olympic athletes that year.  I recently returned to that theme in the quartet of canvases titled Construction Site (Olympic Village) that showed the construction of the housing for the athletes for the Vancouver Winter Olympics of 2010. Other recent examples that expand on this motif includeConstruction Site (The Miro Building) of 2004 and Construction Site Quartet of 2012.

My thoughts have since evolved to consider more complex relations rotating around the concept of a “work in progress”—relations that consider the everyday landscape of the modern city as a world “produced” and “in progress,” which is yet unfinished, just as a work of art is produced. Part of this theme of production includes human labour, and how I like to show the fabrication of my work in progress. The architectonic formation of an image fixes the phenomena of the dynamism of labour into an icon of temporality, the formative moment of construction revealed as material history. By this emphasis on the notion of production, I am interested in unravelling the latent forces that inform the shape of the world in which we live. In this sense the motif of the construction site acts as a concrete, material cipher for meditations on the production of history. The photographic document provides a witness to this historical formation, a critical reflection on the new nature of our reality. But embedded in the context of the work of art, the photographic image is also a construction, a pictorial simulation of the real that is a subjective expression objectively produced, and which has its own aesthetic demands and contradictions, in which the rhetoric of the sublime and beautiful dramatizes this dynamic development of the new monumental landscape of the modern city and offers a motif for thoughts and investigations of the super-structural forces of modern life.

— Ian Wallace