Past Exhibitions - 2016

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Deep Time Live #1

My Country Tis of Thy People, You’re Dying

March 31st – May 26th

Opening Reception:  March 31st 6 pm

 

Nicholas Galanin (Tlingit)


Cannupa Hanska Luger (Lakota/Mandan/Arikara/Hidatsa)


Steven J. Yazzie (Navajo)


Tom Jones (Ho Chunk)


Winter Count Collective (Merritt Johnson, Cannupa Hanska Luger,
Nicholas Galanin, Dylan McLaughlin ,Ginger Dunnill) 
 


Curated by Erin Joyce Projects

 

Indigenous peoples of the Western Hemisphere have a spiritual and mystical connection with the land. The land is part of the Indigenous tradition and religion, from creation stories to the way in which Indigenous peoples live their lives, the land is indivisible from Native America. Throughout the history of the United States and their relationality to Native tribes, the issue of land rights and ownership has been at the forefront of confrontation. From historic events like forced relocation from traditional lands, to contemporary issues of unauthorized sale of tribal land, energy extraction, and contested landscapes,My Country Tis of Thy People You’re Dying, is in reference to the song of the same title by Buffy Saint Marie, and will feature artworks by contemporary Indigenous North American artists examining the environmental impact of energy extraction, the impact it has on the collective Indigenous psyche, and the political framework that has and continues to enable unsanctioned land deals and the abuse of powers over the people. With issues in recent years such as the sale of Oak Flat on the San Carlos Apache Reservation in Southeastern Arizona, First Nations tribes fighting pipelines through their territory, and most prominently the conflict at Standing Rock in North Dakota, the timing of this exhibition could not be more relevant.

 

The mediums represented in this exhibition will be mixed. A film installation by Steven J. Yazzie (Navajo) looks at the impact of uranium mining on the Navajo reservation, on the Navajo people, their health, and the health of the land through stunning and poignant narrative and visual imagery. Nicholas Galanin’s (Tlingit) God Complex, inspects the dynamics of power structures, the glorification of violence, and police brutality; redressing pop culture iconography with a religiosity, echoing Western society’s worship of material over life. Tom Jones (Ho Chunk) work, The North American Landscape, is a series of photographs of plastic toy trees. The work utilizes the trees as stand-ins for the landscape of North America and represents the areas American Indians continue to inhabit on this continent. It also comments on the destruction of the natural world replacing nature with manmade replicas. Other artists in the exhibition include ceramic sculpture by Cannupa Hanska Luger (Lakota/Mandan/Arikara/Hidatsa), and a video installation by Winter Count, a collective of Indigenous artists including Merritt Johnson , Cannupa Hanska Luger, Nicholas Galanin, Ginger Dunnill and Dylan McLaughlin .

 

The exhibition opens at Radiator Gallery in Long Island City, New York March 31st, 2017, and runs through May 26, 2017.

 

The exhibition is generously supported by a Social Justice Grant from the Shelley and Donald Rubin Foundation and fiscal sponsorship from New York Foundation

 

PRESS RELEASE                 PRESS KIT                  CHECKLIST            BOOKLET

 

ARTWORK:

 

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POstcard

 

Embody

Special Event by Shani Ha and Amélie Gaulier-Brody

Sunday, December 11th, 5 pm at Radiator Gallery
Duration of Performance: approx. 20 mins.

The “Embody” series play with abstraction and metamorphose to incarnate complex shifting identities and interactions. Performed since 2011, the Embody blurs the boundaries between sculpture, bodies, and representation. For this iteration, Shani Ha invited performance artist Amélie Gaulier-Brody to invest and interpret Embody.

This series of sculpture is the catalysis for photographs, installations, and performances. Shani Ha invites the audience, performers and dancers to interact with the piece and invest them in different situations.

The soft sculptures are constantly shifting and adapting to the context and silhouettes, creating successive ephemeral sculptural forms. Embody exists in different temporality and formats, the sculptures can be contemplated steady, in action or be activated.

About the exhibition Neither Here Nor There
Nov 18th, 2016 – Jan 20th, 2017

Featuring works by:
Anne Mourier, Fanny Allié, Jeanne Verdoux, Julien Gardair
Marilia Destot, Nicolas Touron, Shani Ha, Simon Courchel

Curated by: Nicolas Touron / Fanny Allié

The exhibition Neither Here Nor There presents the works of eight artists who all share the same birthplace – France and who voluntarily migrated several years ago to New York City.

Not quite from one side or the other anymore, a nonnative constantly oscillates between two realities, fully belonging to none. Through mixed media, sculpture, photography and painting, the artists of Neither Here Nor There examine this state of being slightly “out of tune” and how their experience may have impacted their work over the years. The exhibit also aims to highlight a common thread between all the works – a feeling of detachment of the human figure from its urban environment, within a context of personal narration and a touch of absurdity. The sense of isolation and fragmentation that can emanate from the works is nonetheless often counterbalanced with whimsicality and humor.

In her series Gowanus Dance, Marilia Destot isolates and places her model in a cinematic or sequence form, her photographic work focusing on the intimate writing of time and space intermingled. Exploring the same medium, Simon Courchel creates in each of his photographs an urban choreography or performance thus referencing his background as a dancer; the figure being always insulated and centered within the frame. In Anne Mourier’s small sculptures depicting domestic scenes, the figure is removed all together but constantly in mind, like a ghostly presence, only the habitat remains. Nicolas Touron’s ceramic and video installation Artificial Landscape is a visual fable, existing as a landscape of absurdity in which a dead cicada found at the Brooklyn Botanical Gardens during his numerous explorations there, plays the main character.

Jeanne Verdoux’s prints show the human figure deprived from any context but in constant motion, sometimes in the verge of falling, where ground and air merge into one dimension. Fanny Allié’s characters, often placed on a white background are also removed from their habitat or environment; their urban feel come through nonetheless. In his Artforum mashup series, Julien Gardair combines and cuts Artforum advertisement pages, revealing from these art magazines human silhouettes intermingling with animals, body and abstract elements and creating a chaotic mass. Lastly, in order to remedy the isolation she may find in fast-paced cities, Shani Ha creates versatile sculptures and devices in an effort to bring people together or to add a comforting touch to her surrounding.

 

Neither Here Nor There

The Gallery is closed for winter break and will reopen March 31st for the upcoming show My Country Tis of Thy People, You’re Dying.

Duration of the show: Nov 18, 2016 – Feb 3, 2017

Opening reception: Nov 18th, 2016

Featuring works by: Anne Mourier, Fanny Allié, Jeanne verdoux, Julien Gardair, Marilia Destot, Nicolas Touron, Shani Ha, Simon Courchel

Curated by: Nicolas Touron / Fanny Allié

The exhibition Neither Here Nor There presents the works of eight artists who all share the same birthplace – France and who voluntarily migrated several years ago to New York City.

Not quite from one side or the other anymore, a nonnative constantly oscillates between two realities, fully belonging to none. Through mixed media, sculpture, photography and painting, the artists of Neither Here Nor There examine this state of being slightly “out of tune” and how their experience may have impacted their work over the years.

The exhibit also aims to highlight a common thread between all the works – a feeling of detachment of the human figure from its urban environment, within a context of personal narration and a touch of absurdity. The sense of isolation and fragmentation that can emanate from the works is nonetheless often counterbalanced with whimsicality and humor.

In her series Gowanus Dance, Marilia Destot isolates and places her model in a cinematic or sequence form, her photographic work focusing on the intimate writing of time and space intercrossed. Exploring the same medium, Simon Courchel creates in each of his photographs an urban choreography or performance thus referencing his background as a dancer; the figure being always insulated and centered within the frame. In Anne Mourier’s small sculptures depicting domestic scenes, the figure is removed all together but constantly in mind, like a ghostly presence, only the habitat remains. Nicolas Touron’s ceramic and video installation Artificial Landscape is a visual fable, existing as a landscape of absurdity in which a dead cicada found at the Brooklyn Botanical Gardens during his numerous explorations there, plays the main character. Jeanne Verdoux’s prints show the human figure deprived from any context but in constant motion, sometimes in the verge of falling, where ground and air merge into one dimension. Fanny Allié’s characters, often placed on a white background are also removed from their habitat or environment; their urban feel come through nonetheless.

In his Artforum mashup series, Julien Gardair combines and cuts Artforum advertisement pages, revealing from these art magazines human silhouettes intermingling with animals, body and abstract elements and creating a chaotic mass.

Lastly, in order to remedy the isolation she may find in fast-paced cities, Shani Ha creates versatile sculptures and devices in an effort to bring people together or to add a comforting touch to her surrounding.

PRESS RELEASE

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BRUNCH:

The Descent of Dust

Special Event by Michael Clemow

Sound Installation using found noise, Yamaha keyboard, and speakers

October 28, 2016 6:30—8:30PM

The Descent of Dust takes its sonic palette from the sounds of a circuit bent and “broken” Yamaha VSS-30 digital synthesizer from 1987. The instrument and a library of sounds recorded from the device are used to create a dirty, textural soundscape in four channels. Driving the composition is a genetic algorithm that creates “cultures” of sonic entities that are born and ultimately eradicated multiple times during the course of the performance.

The VSS-30 is a sampling keyboard, allowing a re-sampling of the generated material. This creates a feedback loop that perpetuates sonic characteristics of one “generation” to the next. The performer can choose to restart the culture during the performance, however, the unstable algorithm will eventually destroy itself, ending the performance.

In line with Radiator Gallery’s group exhibition Works: Reflections on Failure, Michael Clemow’s immersive sound installation The Descent of Dust delves into the essence of failure, questioning the unpredictability of the machine facing mankind’s scrutinizing nature.

Throughout his multi-media sound installation, Clemow will challenge auto-recordings, tracing their ephemeral beings and susceptibility for destruction. Works: Reflections on Failure, curated by Osman Can Yerebakan, features works by Daniel A. Bruce, Esmeralda Kosmatopoulos, Ahmet Civelek, Jennifer Grimyser, Tim Etchells, Dana Stirling, Juliette Dumas, Shannon Finnegan, Kay Rosen, Christina Massey, and George Spencer.

 

Works: Reflections on Failure

September 16-November 12, 2016

Opening reception on September 16th, 2016 between 6:00-9:00PM.

Curated by Osman Can Yerebakan

 

Radiator Gallery is pleased to present Works: Reflections on Failure, a group exhibition

featuring works by Daniel A. Bruce, Esmeralda Kosmatopoulos, Ahmet Civelek, Jennifer

Grimyser, Tim Etchells, Dana Stirling, Juliette Dumas, Shannon Finnegan, Kay Rosen, Christina

Massey and George Spencer. Curated by Osman Can Yerebakan, the exhibition brings together

eleven contemporary artists working in a wide variety of mediums, investigating the notion of

failure in contemporary art.

 

Offering a platform to survey the relationship between the artist, the artwork and the audience;

failure suggests a study on the artistic drive, contextual meaning, and viewer expectation. Inspired

by the late artist and author Édouard Levé’s book Works, in which he gathered more than five-

hundred artistic ideas he aimed to bring into fruition, the exhibition scrutinizes the ambiguous

border separating success from downfall. Levé’s candid devotion for creativity—leading to such

accumulation of ideas that eventually failed to be executed—projects an inquisitive mind’s strive

for achievement, as well as his bold undertaking of potential failures. The exhibition not only

studies the assumption of defeat as creative means, but also juxtaposes its various depictions in

contemporary art. Approaching the topic from various angles, artworks on view respond to

unsuccessfulness through different channels, among which are viewer expectation, emotional

investment, and risk-taking.

 

The exhibition will remain on view through November 12, 2016. Radiator Gallery is located on

10-61 Jackson Avenue, Long Island City, NY 11106. The gallery hours are Friday and Sunday 1-

6 PM or anytime by appointment.

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On The Gnostic Trail into South India

Special Event at Radiator Gallery

Lecture by Peter Solymosi
Friday, July 8th, 2016, 6.30 pm at Radiator Gallery

The Gnostic Trail into South India” is a discourse held by Peter Solymosi at the Radiator Gallery.  Solymosi is currently co-exhibiting paintings he made in the Indian and Nepali Himalayas, and now at this occasion he is giving us a philological attempt to reveal one direction in the mind-science of Gnosis by showing a school whose teaching emphasized the creative power of man.

Through the distorted optics of later traditions the Gnostics are seen in the back-mirror as a “sect” in the time of Jesus, condemned as heresy, though their remaining literature reveal the very quintessential of the Classic Worlds. Within it the interpretations and comments of Jesus unite the insights of mainstream Greek with Jewish mystics and Eastern knowledge in a faultlessly seamed coherent world-view.

In the second part of the lecture we will follow the authentic story and path of Judas Thomas, the disciple of Jesus who visited and stayed in India in AD 52-72. Peter Solymosi also documented the eight locations where his spiritual movement had temples built, one of them in fact is still intact. A movement which was neither Christian nor Jewish but with guru Jesus was adopted by the Indian environment.

The length of the discourse with slide-show is ca. 45 minutes.

About the exhibition:

Remote: Studio Not Required featuring artists Peter Solymosi and Georgi Tushev, reflects the innate human desire to conquer magnificent vistas and landscapes and to engage the viewer in a contemporary interpretation of nature’s ongoing transformation through paintings, video captured by home-made drones, and orthographic maps. Both Solymosi and Tushev show great dedication and effort to achieve “altitudes” beyond in their art practice. Their notion of research and careful approximation to the “site” acts as an open-air laboratory.

People densely inhabit the planet and it’s surpassing 7 billion right now. Our lives are fast paced, busy, dense, a far cry from the tranquil days of our ancestors.  Our human actions transform the landscape in notable, sometimes irreparable ways.  Yet we still have hope for solitude and perspective so we travel to the farthest reaches of the world. We seek out the remotest place we can reach to sense it, be it, and have its imprint in our mind. We relish the vistas and space; the vastness in which our spirits can roam.

The artists in this show not only capture nature as they experience it – majestic, mutable, altered – but investigate and immerse in its whole as it reflects back to their urban innate self. Their constant relationship to nature’s changing and often-disappearing character forces them to return to record and to document it  – in paint and in pixels.

Peter Solymosi returns home to Radiator Gallery from trekking the beyond with a series of paintings created in the Indian and Nepali Himalayas, portraying mountain ranges and peaks: the local sky-scrapers. From a topographical point of view we camp at sites at 14, 000 Ft surrounded by breathtaking geo-seismic rifts in the visual landscape. Majestic peak formations with their impeccable anatomy appear to transcend into amorphous personages. These masterfully planned and executed paintings are rare examples of the genre of plain-air. Scope the realism catching a spaceless space as if flying on a magic carpet. “On the higher altitudes one is never alone though, the others are just farther away … ”

Georgi Tushev’s tool of choice is a homemade remote control airplane outfitted with a camera and beaming live video down to video goggles he wears to navigate the craft. This First-Person View experience enables him to project his mind into the craft and reach higher and farther than by any other means. The camera captures glorious footage of mountains, lakes, volcanoes, rainforests; some of these landscape features won’t be the same within our lifetime. Photographs are processed to produce maps of territories in Panama and Peru, for example, documenting changes caused by incursions on the landscape – oil spills and deforestation, ranching, and other marks of human presence.

Tushev explores both remote-control craft’s capacity to create new aesthetic, perceptual experiences and to document inaccessible landscapes and protected environments. Under the Tushevs Aerials label, he develops unmanned aerial vehicles’ application and creates his own technical innovations as a continuum of his artistic and professional practices, helping advance their potential as an alternative to commercial or governmental interests, building content through artistic and sociopolitical engagement.

Remote: Studio not Required

June 24th – July 24th, 2016

Opening: Friday, June 24, 2016, 6–9 pm

 

Artists: Peter Solymosi, Georgi Tushev

Curated by Nina Kantcheva Tushev

 

’Remote: Studio Not Required‘ featuring artists Peter Solymosi and Georgi Tushev, reflects the innate human desire to conquer magnificent vistas and landscapes and to engage the viewer in a contemporary interpretation of nature’s ongoing transformation through paintings, video captured by home-made drones, and orthographic maps. Both Solymosi and Tushev show great dedication and effort to achieve “altitudes” beyond in their art practice. Their notion of research and careful approximation to the “site” acts as an open-air laboratory.

People densely inhabit the planet and it’s surpassing 7 billion right now. Our lives are fast paced, busy, dense, a far cry from the tranquil days of our ancestors.  Our human actions transform the landscape in notable, sometimes irreparable ways.  Yet we still have hope for solitude and perspective so we travel to the farthest reaches of the world. We seek out the remotest place we can reach to sense it, be it, and have its imprint in our mind. We relish the vistas and space; the vastness in which our spirits can roam.

The artists in this show not only capture nature as they experience it – majestic, mutable, altered – but investigate and immerse in its whole as it reflects back to their urban innate self. Their constant relationship to nature’s changing and often-disappearing character forces them to return to record and to document it  – in paint and in pixels.

Peter Solymosi returns home to Radiator Gallery from trekking the beyond with a series of paintings created in the Indian and Nepali Himalayas, portraying mountain ranges and peaks: the local sky-scrapers. From a topographical point of view we camp at sites at 14, 000 Ft surrounded by breathtaking geo-seismic rifts in the visual landscape. Majestic peak formations with their impeccable anatomy appear to transcend into amorphous personages. These masterfully planned and executed paintings are rare examples of the genre of plain-air. Scope the realism catching a spaceless space as if flying on a magic carpet. “On the higher altitudes one is never alone though, the others are just farther away … ”

 

Georgi Tushev’s tool of choice is a homemade remote control airplane outfitted with a camera and beaming live video down to video goggles he wears to navigate the craft. This First-Person View experience enables him to project his mind into the craft and reach higher and farther than by any other means. The camera captures glorious footage of mountains, lakes, volcanoes, rainforests; some of these landscape features won’t be the same within our lifetime. Photographs are processed to produce maps of territories in Panama and Peru, for example, documenting changes caused by incursions on the landscape – oil spills and deforestation, ranching, and other marks of human presence.

 

Tushev explores both remote-control craft’s capacity to create new aesthetic, perceptual experiences and to document inaccessible landscapes and protected environments. Under the Tushevs Aerials label, he develops unmanned aerial vehicles’ application and creates his own technical innovations as a continuum of his artistic and professional practices, helping advance their potential as an alternative to commercial or governmental interests, building content through artistic and sociopolitical engagement.

Peter Solymosi will hold a discourse about the Gnostic connection on the Indian subcontinent, a discussion presentation of a travel diary following the trail of Jesus’ disciple Thomas in Kerala AD 52-72. The apocryphal story of the Gnostic gospels …. which also Nietzsche would have loved to hear!

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Enid Ellen performing at Radiator Gallery

Are we gonna let de-elevator

Enid Ellen performing at Radiator Gallery

Friday May 27th, 2016
7.30 pm at Radiator Gallery

Visual artist David Mramor has an extensive performance practice under the guise of Enid Ellen, a post-gender feminist singer-songwriter. Using his poetry he collaborates with Greg Potter on the piano to create melodic songs. The live performances are infused with his training in Kundalini yoga, visual art and theater. He has performed in NYC at Joe’s Pub, the Kitchen, PS 122, The Whitney Museum of American Art, and Dixon Place. The duo released a debut album entitled Cannibal Disease with a music video for “White Snake” in 2010. They are currently recording a new album, which will be released later this year.

About Surface To Air
April 29th – June 17th, 2016

Radiator Arts is pleased to present Surface To Air, a three-person show featuring Scott Alario,
Michael Childress and Benjamin Phelan, curated by R.J. Supa.

Surface to Air explores the relationship between physical surfaces (tactile, tangible, real) and the otherworldly (imaginary, celestial, unknown). Physical surfaces are made by hand or machine and oftentimes both. All three artists help to confuse the process.

Alario’s photographs document his family life, exposing intimate moments that draw the viewer in but also shock in their candor – is nothing sacred? There’s a familiarity and tenderness in the objects photographed: candy, pee-stained bed sheets, sticks and stones – a glimpse into childhood fantasy and reality that take on a 1950’s version of the future, a nuclear family in a post-nuclear age. Through analog special effects each images is manipulated for its final presentation.

Childress’ paintings are, at first glance, beautiful yet simple gradients, examining a formal relationship between color and composition. Through a unique staining process each work delivers a blurred horizon, creating an image of the far reaches of our individual experience of a three-dimensional world. The final result recalls a chemical haze or an altered reality. Something appears beneath the surface, an impending doom or beauty as a result of a man-made disaster. The paintings can be seen as purely abstract works, buoyant color fields on a flat surface or they can be viewed as representational, allowing the viewer to experience a depth and distance not unlike a vista in the physical realm.

Phelan’s sculptures appear to have a hand in them, or at least a swipe on a screen. Fingertip pressure converting into streaming digital spheres, recorded by CNC milling into polyethylene foam, the mark making is within the ubiquitous preservation material. Stored, but the spectrum is still oscillating; what appears solid is mostly just air, and the speculative topology of machine vision has eyes for the stone forms of antiquity – radiocarbon dating. Oftentimes the larger sculptural work is reminiscent of anatomy, unfurled organs, the brain stretched from end to end. The sculptures serve as pieces of a greater whole – disused components in a body or a building. Things left behind, a piece of a wall, a neuron synapse, the flicker of light emitting diodes. Together all three create fantasy – an alternative landscape, pitch black, rife with color, stark white illuminated by a rainbow of light – that explores a natural world of either a not-too-distant future or a present happening some light years away.

 

Surface to Air

Opening: Friday, April 29th 20166 – 9 pm

It’s amazing how I get so high and stay so down to Earth.Curren$y with Wiz Khalifa, “Surface to Air”

 

Radiator Arts is pleased to present Surface to Air, a three-person show featuring Scott Alario, Michael Childress and Benjamin Phelan, curated by R.J. Supa.

Surface to Air explores the relationship between physical surfaces (tactile, tangible, real) and the otherworldly (imaginary, celestial, unknown). Physical surfaces are made by hand or machine and oftentimes both. All three artists help to confuse the process.

Alario’s photographs document his family life, exposing intimate moments that draw the viewer in but also shock in their candor – is nothing sacred? There’s a familiarity and tenderness in the objects photographed: candy, pee-stained bed sheets, sticks and stones – a glimpse into childhood fantasy and reality that take on a 1950’s version of the future, a nuclear family in a post-nuclear age. Through analog special effects each images is manipulated for its final presentation.

Childress’ paintings are, at first glance, beautiful yet simple gradients, examining a formal relationship between color and composition.  Through a unique staining process each work delivers a blurred horizon, creating an image of the far reaches of our individual experience of a three-dimensional world. The final result recalls a chemical haze or an altered reality. Something appears beneath the surface, an impending doom or beauty as a result of a man-made disaster.  The paintings can be seen as purely abstract works, buoyant color fields on a flat surface or they can be viewed as representational, allowing the viewer to experience a depth and distance not unlike a vista in the physical realm.

Phelan’s sculptures appear to have a hand in them, or at least a swipe on a screen. Fingertip pressure converting into streaming digital spheres, recorded by CNC milling into polyethylene foam, the mark making is within the ubiquitous preservation material. Stored, but the spectrum is still oscillating; what appears solid is mostly just air, and the speculative topology of machine vision has eyes for the stone forms of antiquity – radiocarbon dating. Oftentimes the larger sculptural work is reminiscent of anatomy, unfurled organs, the brain stretched from end to end. The sculptures serve as pieces of a greater whole – disused components in a body or a building. Things left behind, a piece of a wall, a neuron synapse, the flicker of light emitting diodes.

Together all three create fantasy – an alternative landscape, pitch black, rife with color, stark white illuminated by a rainbow of light – that explores a natural world of either a not-too-distant future or a present happening some light years away.

 

PRESS RELEASE

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ARTWORK:

 

OPENING RECEPTION:

Voyage of the Beagle

March 18th – April 22nd, 2016
Opening: Friday, March 18th 20166 – 9 pm.
Artists: Robert Smithson, Sol LeWitt, Greg Drasler, Steve Keister, Peggy Cyphers,
Marilyn Lerner,  Jill Levine, Pam Longobardi, Deborah Bright, Sean Scully, Barbara Yoshida
Curated by Peggy Cyphers 
 
’Voyage of the Beagle‘ brings together works by painters, sculptors and photographers whose artistic practice engages a dialectic of space and location.  Industrial wastelands, architectonic ruins, eroding cliffs, terrestrial frontiers, cultural detritus, lost frontiers – these are some of the starting points for diverse discussions that expand notions of entropic time and space into reclamation and reinvention.  
 
Artistic engagement with site-specific locations has voyage as an ingredient, a practice that finds its roots in cultural history. Artists and scientists in the 1800’s were setting sail, traveling in search of new worlds, utopia, the Garden of Eden and a monumental adventure with the earth that would spur an unprecedented renewal of their creative energies. 

An expedition or experience of location was decisive, constituting a formative influence or turning point and providing subjects that played a substantial role in their oeuvres.  In 1831 Charles Darwin began his infamous 5 year voyage on the H.M.S. Beagle. Darwin writes late in life in his biography, “The Voyage of the Beagle has been by far the most important event in my life and has determined my whole career. “

Artists in the 1800’s such as Frederick Church, Albert Bierdstadt, James Whistler, among many others, have documented in their travel journals that no other single event in their artistic development had the same impact.  The eleven artists in this show dialogue with adventure, the unknown, exploration, and expedition while engaging in a dialect of time and place and the entropic process.” 
 
 In 1967 Robert Smithson began exploring industrial areas around New Jersey. He was fascinated by the dump trucks excavating tons of earth and rock that he described in an essay as the equivalents of the monuments of antiquity. These explorations were the basis of all his major writings, Earthworks and Site/Non-Site sculptures. 
      
Environmental artist and painter Pam Longobardi’s explorations of the Hawaiian Islands and the massive marine debris deposits that clog the beaches, lead to her internationally acclaimed  “Drifter’s Project.”
For Greg Drasler, a series of cross country road trips inspired his painting series “Road House Project,” which focus on the transitional places along two-lane highways. These travels were made possible through the generosity of the Guggenheim Foundation.
           
The genesis of Sean Sully’s sumptuous gridded paintings can be found in 1983, when Scully was in Mexico observing the ancient architectural ruins of the remote Yucatan area and the crumbling dry-stone surfaces. He subsequently began using vertical or horizontal bars in the manner of a dry-stone wall.  
Marilyn Lerner’s extensive travels to Asia engage her artwork with multiple cultural associations.  She writes “The relationship between color and sound has always held interest and I aspired to make paintings that reflected the sound of Javanese gamelan music.”  

The Miocene fossil deposits and eroding clay cliffs of the Chesapeake Bay have continued to inform the paintings of Peggy Cyphers.  This life long engagement with such a dramatic entropic environment and its flora and fauna, informs her painting’s subject and texture.

Jill Levine’s travels every year to the ruins of the Yucatan Peninsula. Her fascination with cultural artifacts of the region manifest into elaborately painted wall sculptures.  The work reinterprets ancient iconographies into exotic hybrids. 

Steve Keister’s sculptures cultivate a correspondence between pre-Columbian art of Mesoamerica and Styrofoam packaging he scavenges from city streets, chosen for their potential resemblance to Aztec and Mayan architectural fragments.  His early work suggests extra terrestrial lands and flying saucers.
Deborah Bright’s photographic works dialogue modern landscape with political histories. This series photographed in Israel deals with the juxtaposition of ruins of former inhabitants and the current reclaimed landscape.

Sol LeWitt’s $100 Drawings from the 1970’s examine notions of dislocation and disembodiment, challenging the factual assumptions of maps while playfully tracing his own associations and interpretations into the work.   The foundational theory of these early works would inform his later practice and Wall Drawings.

Barbara Yoshida’s photographic expeditions to capture Neolithic standing stones in moonlight recall pubescent camping trips in the woods of northern Idaho with her family. Her first monograph, Moon Viewing: Megaliths by Moonlight, was published by Marquand Books in September 2014.

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Nutritional Facts



Nutritional Facts



Special event at Radiator Gallery

Friday March 4, 2016. 5:00 – 8:00pm

Drop by to see food nostalgia during the Armory Art Fair, and join exhibiting artist Emilie Baltz for Nutritional Facts, a wearable edibles performative experience. Emilie will have foodstuffs available for you to realize a bit of your own edible body adornment (Lick Me!!).

food nostalgia, is an exhibition of paintings, photographs, video, sculpture and installation works by artists Cey Adams (New York), Emilie Baltz(New York), Disorientalism (Katherine Behar and Marianne M. Kim, New York/ Arizona), Gonzalo Fuenmajor (Miami, FL), Kira Nam Greene (New York) and Jonathan Stein (Coral Springs, FL).

“food nostalgia looks at food in contemporary America through a lens of fast food iconography and industrial food production” says curator, Amanda McDonald Crowley. “Participating artists variously draw on popular cultural references, brand recognition, bodies, memory, nostalgia, and playfulness. They ask us to think about our relationship to our colonial pasts, feminist thinking, cultural diversity, and marketing culture. The corporatisation of our food systems is deeply entrenched in our psyche; historical and contemporary trade routes of our food affect our cultural landscape.”

As a framework to explore how we cook, eat, and consume, food nostalgia is a platform to share ideas, and food.

Emilie Baltz is an experimental artist, director and educator with a focus on food and sensory storytelling. She creates playful and unconventional work that moves people to discover new worlds one lick, suck, bite, sniff, and gulp at a time.

Junk Food Brunch

Radiator Gallery Special Event 

Sunday February 28 12:00 – 2:00pm 

Radiator Gallery will host a Junk Food Brunch, where curator Amanda McDonald Crowley will give a walk through of our current exhibition food nostalgia, and talk about the underlying themes of the exhibition. Exhibiting artists Cey Adams, and Katherine Behar will also talk about influences and inspirations in their work in the exhibition.

In addition to serving up delectable and surprising nostalgic packaged foods Amanda, and artist Stefani
Bardin, will be serving deliciously reverse engineered versions of Gatorade and Gummy Bears.

Come expected to have your taste buds tickled by a range of nostalgic taste sensations, and stay for the
conversation. And please feel free to bring along your favorite versions of Junk Food, from around the world.

Food Nostalgia is an exhibition of works exploring food in contemporary America through a lens of fast food iconography and industrial food production. The exhibition runs at Radiator Gallery through March 13.

Amanda McDonald Crowley is a curator and cultural worker who creates new media and contemporary art exhibitions, events, and programs that encourage cross-disciplinary practice, collaboration and exchange. One of her key current curatorial research topics explores the intersection of art, food and technology, ArtTechFood.

Cey Adams‘ dismantles contemporary cultural imagery to build multiple layers of color, texture, shadow, and light. From his roots in the NYC graffiti movement and hip hop culture, his artwork draws inspiration from 60’s pop art, sign painting, comic books, and popular culture; he focuses on themes including race and gender relations, pop culture, and community issues.

Katherine Behar‘s videos, performances, and interactive installations explore issues in contemporary digital culture. Disorientalism (whose work is included in the exhibition), is an artistic collaboration between Katherine and Marianne M. Kim, in which the duo study the disorienting effects of technologized labor, junk culture, and consumerism. Disorientalism explores how these forces mediate race, gender, and bodies. In character, the Disorientals expose our hapless submersion in junk culture, and our failed attempts to rationalize it by mistakenly resorting to industriousness and work.

Stefani Bardin explores the influences of corporate culture and industrial food production on our food system and the environment. She works with neuroscientists, biologists and gastroenterologists to ground her research in the scientific world.

 

 

Hungry Hungarians Book Launch

Hungry Hungarians Book Launch
Radiator Gallery Special Event
Friday, February 19 6:00 – 8:00pJulia Standovar will prepare one of the recipes from the book and visitors will have the chance to taste the meal. Standovar will read out loud one chapter from Hungry Hungarians and will present few photo prints from the project. Her project representing Standovar’s extreme disappointment with current Hungarian politics in the form of a cookbook. Standovar critiques the political and social changes that have occurred in Hungary over the past years through a presentation of images, Hungarian recipes and cultural stories. The book explores how Hungary’s political system moves further away from the Western democratic and liberal values.About the Artist:
Júlia Standovár was born and raised in Budapest, Hungary. Standovar currently lives and works in New York City. She gained a BA Fine Art Photography degree at the Moholy-Nagy Univrsity of Art and Design Budapest in 2013. She graduated at the MFA Photography, Video and Related Media program at the School of Visual Arts in New York City in 2015. Standovar’s work was showed at the Ludwig Museum of Contemporary Art in Budapest, MoMA PS1 / New York Art Book Fair, Budapest Art Market, Telep Gallery and the SVA Chelsea Gallery. Standovar received a scholarship from The Hungary Initatives Foundation 2014, and she got the Thomas Reiss Memorial Award and the Paula Rhodes Memorial Award in 2015.
Her latest work is the Hungry Hungarians photo-art-cookbook about Hungarian culture, food and politics. She loves cooking.The book Hungry Hungarians will be available for purchase at the event.Publisher: Llewelyn Projects

 

CHANCE ECOLOGIES Special Event

CHANCE ECOLOGIES
Weekend of Walks, Talks, Screenings and Panel Discussions

We are pleased to announce a weekend of walks, talks, screenings and panel discussions as part of the Chance Ecologies exhibition at Radiator Arts, open through Jan. 22nd, 2016. Events will be held at the gallery as well as in and around the site of Hunter’s Point South, Long Island City, and continue to explore the value of unplanned wild spaces within the urban environment.

Sat. January 16th: 2:30 pm – 4 pm:
Endangered Surfaces Walk to Hunter’s Point South – an experimental walk by Christopher Kennedy and Ellie Irons. Tracing the border of Hunter’s Point South, this participatory walk will explore the remains, edges, and overlaps of the myriad surfaces that covered the land before development began last September.

(Departing from Radiator Arts at 2:30, please dress for cold weather!)

5:30 pm – 6:30 pm:
Screening of “For the Birds” – a series of site-specific video works by Joianne Bittle, followed by a discussion of the selected texts and observations in the field with the artist.

7 pm – 8:30 pm:
Archaeological Panel: “Art, Archaeology and the Curious Activity of Digging Up Nothing” – a public discussion reflecting on the experience and concepts of performing an archeological dig.

Panel speakers: Matthias Neumann, artists of “Dock Street Dig” for Chance Ecologies / Scott Schwartz, archaeologist, CUNY Graduate Center / Megan Hicks, archaeologist, CUNY Graduate Center / Matthew C. Lange, artist / Jeffrey Lee Benjamin, artist and archaeologist, Columbia University

Sun. January 17th: 1 pm – 2:30 pm:
Curators talk and brunch, hosted by Radiator Gallery. The curators of Chance Ecologies (Catherine Grau, Nathan Kensinger, and Stephen Zacks) will give a walk through of the exhibition and engage in a public discussion about the underlying themes of Chance Ecologies.

2:30 pm – 4 pm:
Site and Field: Listening to Hunter’s Point South – an Electromagnetic Field Listening walk by Dylan Gauthier.
(Departing from Radiator Arts at 2:30, please dress for cold weather!)

4 pm – 4:30 pm:
Ceremonial Score – For Grieving the Loss of a Wild Landscape, a participatory performative ritual developed by Allison Danielle Behrstock in collaboration with and facilitated by Catherine Grau.

(Location: please meet at the corner of 2nd Street and 54th Ave. Please dress for cold weather and unsteady terrain – the ritual will take place on the Hunter’s Point South site.)

4:54 pm:
The Rotation of the Earth presents the Sunset – a brief experimental sunset viewing by Dillon de Give. Please feel free to pick up a poster listing the exact times of the sunset for the duration of the Chance Ecologies exhibit at Radiator Arts.
(Location: LIC East River Ferry terminal, Hunter’s Point South.)

 

SPECIAL EVENT Opening:

SPECIAL EVENT Talk:

Food Nostalgia

February 5 – March 13, 2016

Artists: Cey Adams, Emilie Baltz, Disorientalism (Katherine Behar and Marianne M. Kim), Gonzalo Fuenmajor, Kira Nam Greene, Jonathan Stein

Curator: Amanda McDonald Crowley

Radiator Gallery is pleased to present food nostalgia, an exhibition of paintings, photographs, video, sculpture and installation works by artists Cey Adams (New York), Emilie Baltz (New York), Disorientalism (Katherine Behar and Marianne M. Kim, New York/ Arizona), Gonzalo Fuenmajor (Miami, FL), Kira Nam Greene (New York) and Jonathan Stein (Coral Springs, FL).

“food nostalgia looks at food in contemporary America through a lens of fast food iconography and industrial food production” says curator, Amanda McDonald Crowley. “Participating artists variously draw on popular cultural references, brand recognition, bodies, memory, nostalgia, and playfulness. They ask us to think about our relationship to our colonial pasts, feminist thinking, cultural diversity, and marketing culture. The corporatisation of our food systems is deeply entrenched in our psyche; historical and contemporary trade routes of our food affect our cultural landscape.” As a framework to explore how we cook, eat, and consume, food nostalgia will be a platform to share ideas, and food.

Kira Nam Greene’s paintings and drawings are conceptual self-portraits with collaged images of food and complex patterns that represent the plurality and multiplicity of her identity as an Asian-American woman. For Kira, food acts as a metaphor for the idealization of the female body and the surrogate for desire to consume and control. During a residency in the “bread basket” of America, her Nebraska Suite series is the first time that she consciously used fast food imagery in her work.

Emilie Baltz grew up in Joliet, Illinois in a house without junk food. Her French mother was an incredibly creative and healthy cook, but all around her families were serving up junk food. A little jealous, and a lot intrigued, this experience inspired her Junk Foodie series: her images are both alien and familiar, but mostly fun interpretations of traditional recipes rendered using junk food ingredients.

Jonathan Stein finds his inspiration in grocery stores and fast-food spots. In his Shiny Sparkly Goes Down Easy series Jonathan takes iconic images such as Spam, Ritz crackers and a bucket of KFC to create bling objects where shinier is better and a glitzy surface masks a loaded commentary on fast food consumption.

Cey Adams also draws inspiration from popular iconography and brand recognition. In Cream of Wheat Cey takes the iconographic brand image, reputedly a portrait of African American chef, Frank L White and using collage and design principles, creates a richly textured and subtly rendered black on black painterly abstraction.

Gonzalo Fuenmayor’s Papare series examines ideas of exoticism and the complicit and amnesic relationship between ornamentation and tragedy. Opulent Victorian chandeliers and other elements, reminiscent of a decadent colonial past, proliferate from banana bunches, alluding to a tragic and violent history associated with Banana trade worldwide.

Disorentalism’s Maiden Voyage focuses on race and labor in American food production and promotion. The Disorientals track down the Land O’ Lakes Indian Maiden, who has been reborn as an empowered executive.

Food nostagia takes a critical, yet humorous, look at how junk food and brand cultures impact contemporary food systems and consumption.

PRESS RELEASE

CHECK LIST

ART WORKS:

OPENING RECEPTION:

Hungry Hungarians Book Launch:

Junk Food Brunch: