http://foxyproduction.com/ Exhibitions - Artists - News - Press - Publications - Gallery - Private - Contact - 623 W 27 ST NYC 10001 USA - t: +1 212 23 9 2758, f: +1 212 239 2759 en Copyright 2012, Foxy Production Sat, 11 Feb 2012 20:31:02 -0500 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 20 - February 25, 2012</div> <br/> <a href="/exhibition/view/2285"><img border="0" src="http://foxyproduction.com/static/dyn-images/47/47143.jpeg" alt="" height="750" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">MICHAEL BAUER, JOEL CROXSON, STEPHEN LICHTY, SARAH</span> E. <span class="caps">WOOD.</span></p> <p>This group exhibition balances the elaborate, enigmatic paintings of Michael Bauer and Joel Croxson, with the hypnotic, streamlined sculptures of Stephen Lichty and Sarah E. Wood. With intriguing shapes and materials, and odd juxtapositions and references, the works defy, in varying ways, the empty signs of contemporary abstraction. Echoing, perhaps, the response of the New Realists to Abstract Expressionism, the artists here generate unexpected experiences for the viewer by inflecting abstraction with poetic and figurative notes.</p> <p>Michael Bauer&#39;s paintings display marks and icons, floating upon a flat field, that come together as spectral portraits whose roots may lay somewhere in Renaissance or Modernist portraiture. His paintings unleash an array of references that modulate from the unknown and nightmarish, to the recognizable and charming.</p> <p>Joel Croxson&#39;s meticulous, energized paintings mix patterning, lines, and shapes with fields of color. Conjuring almost, but not quite definable images and actions, they possess the visual logic of a dream: With no easily identifiable reason or direction, they make sense in the moment and then change course. Thwarting literal readings, they open doors to subjective spaces.</p> <p>Stephen Lichty&#39;s sculptures suspend familiar materials in exquisite, sculptural animation. He contours ribbons using armatures, creating relationships between elements that have a powerful and poetic sense of movement. Held in a fine balance between figure and ground, the works traverse the fault-line between representation and abstraction. </p> <p>Sarah E. Woods&#39; elegant, sculptural constructions inject everyday materials with a stark and affective lyricism. Her wall-based work, Untitled (Broken Lines), made from wood, steel, and string, is reminiscent of a waterfall or, perhaps, the digital version of one. The theatricality of its simulated movement is matched by its pared-down gracefulness.</p> <p>Michael Bauer (Erkelenz, Germany, 1973) lives and works in New York. He studied at the Foundation of <span class="caps">BROTHERSLASHER,</span> Cologne, with Tim Berresheim and at the Hochschule fur Bildende Kunst Braunschweig, Germany. Exhibitions include: Lisa Cooley, New York (solo)(upcoming 2012); Peter Kilchmann, Zurich (solo); Saatchi Gallery, London; Galerie Chez Valentin, Paris; Norma Mangione Gallery, Turin (solo); Villa Merkel, Esslingen am Neckar, Germany (solo)(all 2011); Linn Luhn, Cologne (two person); Marquis Dance Hall, Istanbul, Turkey (two person)(both 2010); Kunsthaus Baselland, Basel (solo); <span class="caps">HOTEL,</span> London (solo); Artleib, Dusseldorf, Germany (two person)(all 2009); Sammlung S&uuml;dhausbau, Munich (2008); Lehmann Maupin, New York; Timothy Taylor Gallery, London, curated by Emma Dexter; Jack Hanley, San Francisco (solo); Kunstverein, Bonn, Germany (solo); Stadtische Galerie, Delmenhorst, Germany (solo)(all 2007); St&auml;dtische Galerie, Wolfsburg (2001); Kunstverein Braunschweig (2000); and Kunsthalle Recklinghausen (1999). His curatorial series The Keno Twins (1-5) was presented across Germany and Italy (2008-2011).</p> <p>Joel Croxson (1978, Bristol, UK) lives and works in London. He holds a <span class="caps">BFA </span>from the University of the West of England, Bristol, and a Post-graduate Diploma Fine Art from the Royal Academy, London. Exhibitions include: Frieze Frame, Frieze Art Fair (solo)(2011); Rob Tufnell Gallery, London (solo)(2011); Dicksmith Gallery, London (solo)(2009); 319 Portobello Road, London; Atelierhaus Mengerzeile, Berlin (both 2007); Bristol City Crypt, Bristol; Three Colts Gallery, London; v22/On, Ashwin Street Gallery, London (all 2006); One in the Other, London (solo)(2005); Summer Exhibition, Royal Academy, London (2003); and Spike Island, Bristol (2001).</p> <p>Stephen Lichty (Kansas City, <span class="caps">MO,</span> 1983) lives and works in Brooklyn, New York. He holds a BSc from the Department of Culture and Communications at <span class="caps">NYU.</span> Exhibitions include: Frutta, Rome (2012); The Barber Shop, Lisbon (2011); and School of Development, Berlin (2010). Performances include: Ribbon dance in a thunderstorm at sunset, Socrates Sculpture Park, New York (2011). Publications include: Special Effects, Advances in Neurology, re-release with Neil Marcus and Publication Studio (2011); and Alexander, Bell, Cooper, McCracken, Valentine (1971), re-release with Publication Studio (2010).</p> <p>Sarah E. Wood (Beckley, <span class="caps">WV,</span> 1976) lives and works in Brooklyn, New York. She holds a <span class="caps">BFA </span>from The Maryland Institute, College of Art, and an <span class="caps">MFA </span>from Rutgers University. Exhibitions include: Grimm, Amsterdam; Francois Ghebaly Gallery, Los Angeles (both 2011); Kate Werble (solo)(2010); Carnegie Mellon University, Pittsburgh; <span class="caps">PS122,</span> New York (solo)(both 2008); and Art in General, New York (2004).</p> <p>---<br /> Photographs by Mark Woods</p></div> http://foxyproduction.com/exhibition/view/2285 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 6 - January 14, 2012</div> <br/> <a href="/exhibition/view/2264"><img border="0" src="http://foxyproduction.com/static/dyn-images/46/46744.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Carbon Copies, Michael Wang&#39;s inaugural New York solo project. Wang uses systems that operate on a global scale as media for art: the global economy, the mass media, species distribution, and climate change become sites for aesthetic intervention.</p> <p>In Carbon Copies, Wang uses twenty contemporary artworks as his referents to produce a series of delicately crafted sculptural forms. The forms&#39; dimensions are determined by the carbon footprint made during each original artwork&#39;s production. These copies are paired with certificates that guarantee the offset of the original carbon footprints; together, they become artworks within the economy the artist has conceived.</p> <p>Merging Institutional Critique and Land Art, Carbon Copies takes the contemporary art system and the atmosphere itself as both media and subjects. As art occupies an almost limitless terrain, the tools of its critique need to traverse a global space to make its invisible structures visible. Wang creates a speculative art economy, where each transaction both represents and negates the unrepresented energies that go into the making of an artwork.</p> <p><span class="caps">MICHAEL WANG </span>(Olney, <span class="caps">MD,</span> 1981) lives and works in New York City. He holds a Masters in Architecture from Princeton University, an MA from <span class="caps">NYU, </span>and a BA from Harvard. Wang has worked as an artworld events reporter, taught with the architect Peter Eisenman at Yale, and consulted for some of the world&#39;s largest corporations. His works include speculative proposals for the World Economic Forum conference hall in Davos, Switzerland; and "Invasives", the controlled release of invasive species. Selected exhibitions include: Primetime Gallery, Brooklyn (2010); Asia Song Society, New York (2008); and Rivington Arms, New York (2007). His critical writings have appeared in Artforum, The Architect&#39;s Newspaper, and Modern Painters.</p> <p>Thanks to Pinar Yolacan, and Vecteur Carbone, Paris.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2264 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 4 - December 23, 2011</div> <br/> <a href="/exhibition/view/2255"><img border="0" src="http://foxyproduction.com/static/dyn-images/45/45450.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">SASCHA BRAUNIG </span><br /> <span class="caps">TALIA CHETRIT </span><br /> <span class="caps">VINCENT FECTEAU </span><br /> GY&Ouml;RGY <span class="caps">KEPES </span><br /> <span class="caps">DANIEL SINSEL </span></p> <p>Curated by <span class="caps">GABRIEL HARTLEY</span></p> <p>Foxy Production presents <span class="caps">CLOUD, </span>a group exhibition curated by London-based artist Gabriel Hartley. Cloud revisits and expands upon Surrealism, focusing on how its formal and aesthetic themes have been appropriated by a range of artists. The exhibition includes work by Sascha Braunig, Talia Chetrit, Vincent Fecteau, Gy&ouml;rgy Kepes, and Daniel Sinsel.</p> <p>Cloud takes the work of Hungarian-American artist, designer, and educator Gy&ouml;rgy Kepes (1906-2001) as a starting point. Originally an assistant to L&aacute;szl&oacute; Moholy-Nagy, Kepes interpreted Surrealism through the lens of design and technology. Wavering on the edges of abstraction, his photograms - made by manipulating exposed photographic paper - and paintings, rendered in paint and sand, share a processed texture and an industrial beauty within a complex psychological space.</p> <p>Sascha Braunig&#39;s paintings and drawings portray biomorphic figures through an Op-art filter. Her works in Cloud conjure distorted and alluring beings: jarringly colored, ambiguous figures whose gestures undermine their robotic anonymity and whose geometric patternings clash with the curvatures of their bodies.</p> <p>Talia Chetrit&#39;s photographs of objects and surfaces use deceptively simple strategies to study pattern, texture, and light. At times recalling Moholy-Nagy, her works&#39; use of zoom, focus, and depth of field, among other devices, creates visions where the boundaries between planes and objects seem to lose definition. &#8232; </p> <p>Vincent Fecteau&#39;s papier-m&acirc;ch&eacute; forms embrace primordial sculptural virtues, celebrity culture, and interior design. Fecteau&#39;s Untitled (2010) is a purple and brown abstraction made from papier-m&acirc;ch&eacute;, wool, paint, and wood. Its modest scale, everyday materials, and familiar coloring belie an odd, emotional sub-scape.</p> <p>Daniel Sinsel composes elegant paintings and sculptures that are imbued with gentle musings on time, desire, and displacement. Evading direct readings, his works evoke a quietness that is simultaneously fraught and peaceful. His untitled sculpture in Cloud depicts a theatrical silver lance piercing a wooden plinth: on close inspection, the weapon&#39;s aluminum point resembles curvaceous folds of skin. Recalling Magritte&#39;s plays with illusion, Sinsel&#39;s paintings undermine perceptions of both abstraction and object-hood.</p> <p>Sascha Braunig (Qualicum Beach, <span class="caps">BC,</span> Canada, 1983) is based in Portland, <span class="caps">ME.</span> Recent exhibitions include: Foxy Production (solo); Simon Oldfield Gallery, London; and the Bridgehampton Biennial (all 2011).</p> <p>Talia Chetrit (Washington, <span class="caps">DC,</span> 1982) is based in New York City. Recent exhibitions include: Renwick, New York (solo); Marlborough Cheslea, New York (both 2011); <span class="caps">IMO</span> Projects, Copenhagen (solo)(2010); and Museum of Contemporary Art, Miami (2009).</p> <p>Vincent Fecteau (Islip, <span class="caps">NY,</span> 1969) is based in San Francisco. Recent solo exhibitions include: Greengrassi, London (2010); Matthew Marks, New York; San Francisco Museum of Modern Art (both 2009); and the Art Institute of Chicago (2008).</p> <p>Gy&ouml;rgy Kepes (Selyp, Hungary, 1906) was educated in Budapest and worked in Berlin and London before moving to the <span class="caps">USA </span>in 1937. He studied painting before later investigating film, photography, and design. He became a leading design educator and was the author of the influential Language of Vision (1944). Kepes died in 2001 in Cambridge, <span class="caps">MA.</span></p> <p>Daniel Sinsel (Munich, 1976) lives and works in London. Recent solo exhibitions include: Office Baroque Gallery, Antwerp; Chisenhale London (both 2010); Gallery Micky Schubert, Berlin; and Sadie Coles <span class="caps">HQ,</span> London (both 2009).</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2255 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 15 - October 29, 2011</div> <div class="exhibition-opening">Opens Thursday, September 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2202"><img border="0" src="http://foxyproduction.com/static/dyn-images/44/44514.jpeg" alt="" height="613" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production is pleased to present <span class="caps">ANDREI KOSCHMIEDER</span>&#39;s inaugural New York solo exhibition Android Koschmieder. The exhibited works hybridize the techniques of painting, sculpture, and digital imaging. Through a combination of epoxy resin, painterly inks, and enlarged digital images, Koschmieder translates the experience of contemporary technology into multi-layered, visual forms.<br /> <br /> With their shifting, animated materiality and embedded marks resembling otherworldly fossils, the works coagulate into vibrantly colored sci-fi screens. Through an inventive process of enlarging digital images onto stained resin casts -- Koschmieder prints out sections of an image onto foil and then presses them, still wet with ink, onto larger pieces of paper, which are then bathed in resin - digital space is eerily translated into gallery space. </p> <p>Either hanging from custom-made clamps or wrapped together into human-scaled columns, the works are fluidly multi-dimensional in form: the wall pieces are spotlighted like projected film cels that draw out their skin-like transparency; the floor pieces appear almost hologrammatic in their modular construction. Their layering creates rich visual incidents as their digital imagery emerges from within their variously liquid, smooth, corrugated, or cracked resin surfaces.<br /> <br /> The images implanted in Koschmieder&#39;s hybrids draw on advertisements of tech-gadgets as much as they do anatomical drawing, art history, and cybernetics. The artist focuses on the human hand, that base unit of the anatomical study, manual artistry, and touchscreen technology: the works show hands gliding through page after page of digital information in as much a dystopian operation as an enlightening one. The works juxtapose vivid luminous surfaces that seduce the viewer, with rough, razor-like edges that threaten those who dare to glide their fingers across them.<br /> <br /> <span class="caps">ANDREI KOSCHMIEDER </span>(Frankfurt, Germany, 1980) lives and works in New York City. He holds an <span class="caps">MFA </span>from the Staatliche Hochschule f&uuml;r Bildende K&uuml;nste, Frankfurt. Selected exhibitions include: Real Fine Arts, Brooklyn (2011); White Columns, New York; Johan Berggren Gallery, Malm&ouml;, Sweden (solo); Credenza, New York (solo); Cleopatra&#39;s, New York; (all 2010); <span class="caps">RGB LED,</span> Seoul, South Korea; Johan Berggren Gallery, Malm&ouml;, Sweden; Neue Alte Br&uuml;cke, Frankfurt (2009); Kunstverein St. Pauli, Hamburg, Germany; Literaturhaus, Frankfurt; and Hold &amp; Freight, London (all 2008).</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2202 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 9 - July 29, 2011</div> <br/> <a href="/exhibition/view/2009"><img border="0" src="http://foxyproduction.com/static/dyn-images/43/43494.jpeg" alt="" height="276" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">STEPHEN ABRY</span><br /> <span class="caps">KAI ALTHOFF</span><br /> <span class="caps">JANET BURCHILL</span><br /> <span class="caps">DESTINY DEACON</span><br /> <span class="caps">VIRGINIA FRASER</span><br /> <span class="caps">ISA GENZKEN</span><br /> K8 <span class="caps">HARDY</span><br /> <span class="caps">JUDITH HOPF</span><br /> <span class="caps">HENRIK OLESEN</span><br /> <span class="caps">JENNIFER</span> McCAMLEY<br /> <span class="caps">DANNY</span> McDONALD<br /> <span class="caps">MICHAEL RILEY</span></p> <p>Curated by <span class="caps">ROBERT</span> McKENZIE.</p> <p>In Spring 2001 the now defunct interior design magazine Nest ran an article on a child born with the decorator gene, "The D-Gene." As the editor Joseph Holtzman describes: "Last October, rumor of an extraordinary being reached us. I do believe in the D-Gene, and here was a six-year-old decorator of unmistakable talent, maybe even genius... Neither his parents nor brother Max are fazed in the slightest to be living with a genetic decorator, if that is what little Polo-shirt-loving Dan really is." Of course the diagnosis is dubious and perhaps that is the point.</p> <p>Holtzman&#39;s suggestion of a genetic predisposition for d&eacute;cor most obviously riffs on and satirizes the notion of the "Gay Gene," although it might just as easily undermine the categories of class, race, and gender. This speculation provokes an array of questions: In the realm of learned behaviors, what might an aptitude for aesthetic choices actually indicate? Is the procession of aesthetic choice, lauded in the pursuits of painting and sculpture, anything other than an elaborate entropy? Are the attendant cultural significations of style and decoration baseless whimsy? What of the claims of ethnology? And what traction might identity make within this commotion? </p> <p>In response to these questions, I considered how phantasms - illusions or apparitions - assist or hinder the rendering of my own body. The political, social and economic possibilities invoked by phantasms seemed fundamental to my formation. These possibilities are contained within the perception, the prescriptive component of my imaginary. Phantasms, through their historical iterations, a synthesis of the social, and the concrete economy of the object, suggest behaviors to me.</p> <p>The French writer and artist Pierre Klossowski has written extensively on the nature of phantasms and their implications for identity: "One believes that one chooses freely to be what one is, but one is only ever playing a role, while not being what one is; therefore one is playing a role of what one is outside of oneself. One is never where one is, but always where one is only the actor of that other which one is."</p> <p>The interplay between the economy of a style and its phantasm is an infinitely reflexive one and, I make no pretense at unraveling it. The phantasm and its related notion of the simulacrum are primary in the navigation of our individual economy. For those oppressed by their situation, they allow the apparition of an alternative, the discovery of other ways of being outside themselves. </p> <p>Klossowski sees the simulacrum as "a tableau materially stimulating an interior vision, one which is experienced intimately and morally (the phantasm), or the constraint that such a vision exerts which is then exteriorized according to the traditional rules of the image." For the purpose of this exhibition, I would like to emphasize Klossowski&#39;s reference to constraint. In its most optimistic incantation, the simulacrum might offer the possibility of escape, a pathway to a more accommodating scenario.</p> <p>The oppression or liberation enacted by the phantasm is at the crux of my concerns. Style and decoration are far from what I had originally conceived: their collective hallucinations are free-wielding friend and foe. Their vicissitudes demand much from the individual. One must be highly attuned when committing one&#39;s self to the throes of such negotiation. The children&#39;s game of dress-ups suggests this politic, although its innocence must surely be disputed. Disposition itself is at stake here and so the phantasm must be studied with the utmost earnestness, as well as with jest. The artist is uniquely positioned to experiment in this maelstrom. This exhibition is dedicated to such research. -ROBERT McKENZIE.</p> <p>Thanks to the artists, Arts Victoria, Galerie Daniel Buchholz, Berlin/Cologne, Brett Millspaw, Roslyn Oxley9 Gallery, Sydney, Scott Cameron Weaver, Gladstone Gallery, New York, The Estate of Michael Riley, Reena Spaulings Fine Art, New York, Alex Zachary, New York, David Zwirner, New York.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2009 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 6 - June 4, 2011</div> <br/> <a href="/exhibition/view/2008"><img border="0" src="http://foxyproduction.com/static/dyn-images/42/42279.jpeg" alt="" height="889" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents a solo exhibition by <span class="caps">OLGA CHERNYSHEVA, </span>marking the first presentation of her paintings in North America and the world premiere of her new video, Trashman. The exhibition opens Friday May 6 from 6:00 to 8:00 pm and runs through June 4, 2011.</p> <p>Chernysheva&#39;s third solo exhibition at the gallery comprises a series of paintings that draws inspiration from her observational films and photographs, and a new video, Trashman, about a young migrant worker who collects trash at the end of film screenings in a Moscow cinema.</p> <p>Chernysheva&#39;s paintings reinterpret images taken from her body of photography and video work. Scenes of guards, street-vendors, and park-life capture passing moments that are intense and suspenseful, despite their everyday nature. Her canvases&#39; subdued, often-monochromatic palette and visible brushstrokes within expanses of fluctuating tonality give them a dramatic, psychological charge. Chernysheva&#39;s paintings explore the cinematic experience - each scene alludes to a larger story outside its edges like film frames in a reel, and their focus, depth of field, and sense of movement have a tangibly filmic quality. Chernysheva cites the poetic narratives of early Soviet director Alexander Dovzhenko as an important influence. His films depict the wider forces that impact upon everyday lives and, at times, position the earth itself as a protaganist. Likewise in Chernysheva&#39;s paintings, ground and backdrop vie with their subjects for the center of dramatic attention.</p> <p>Chernysheva&#39;s video, Trashman, observes a young man as he stands with a large trash bag in front of the screen as people leave a cinema. Patrons fling their drink cups and other refuse into the bag he holds open, as the various films&#39; end-credits roll down and the final songs of their soundtracks blare out. His calm, self-possessed demeanor recalls the idealized workers of Realist painting or Soviet cinema; yet, here in the new Russia, the model worker stands alone, contemplative, appearing out of place and time, disconnected from the broader social realm moving around him. </p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2008 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 18 - April 30, 2011</div> <br/> <a href="/exhibition/view/2007"><img border="0" src="http://foxyproduction.com/static/dyn-images/41/41021.jpeg" alt="" height="622" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents <span class="caps">SASCHA BRAUNIG</span>&#39;s debut New York solo exhibition. In a series of spectral oil paintings, Braunig reimagines the studio portrait. With saturated colors and an hypnotic style, the works reflect upon illusion and surface. </p> <p>In dream-like scenes where repetition and patterning are foregrounded, Braunig&#39;s models emit an extrasensory glow. Flaring with reflected color, they are iridescent beings whose very skin seems to be a source of psychic power.</p> <p>Braunig produces uncanny atmospheres, where costume, make-up, and d&eacute;cor fragment and engulf the body. In these hallucinatory visions, the subjects&#39; markers of individuality - their faces, gender, even bodies - are masked, overshadowed or absent. The works&#39; dramatic lighting animates their statue-like subjects, giving a sense of both strength and fragility. </p> <p>In Goldwarp, an illuminated mask&#39;s marble-like eyes hint of a semblance of life within. Carapace&#39;s green tones combine a geometric background with an angular metallic form that could be covering a head or a whole body, and whose red lacing - holding closed its only opening - appears like fierce, sensual teeth. And in Chameleon, golden discs swarm upon a painted figure and a dark curtain, distorting the space in a wave of reflection.</p> <p>Braunig&#39;s work recalls at times George Condo&#39;s mining of the history of portraiture, but where Condo often channels Picasso, Braunig&#39;s precursor may be Magritte, with his sharp representational style and his mysterious juxtapositions. Her paintings also evoke the spirit of performance artist Leigh Bowery whose startling costuming often encased his body. Like Bowery&#39;s "looks", Braunig&#39;s baroque armors enigmatically reveal a dark yet playful wit within.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2007 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 8 - March 12, 2011</div> <br/> <a href="/exhibition/view/2006"><img border="0" src="http://foxyproduction.com/static/dyn-images/40/40281.jpeg" alt="JODI, GEO GOO, 2008-2011 ongoing, screenshot." height="250" width="500" /></a> <p><p><span class="caps">JODI, GEO GOO,</span> 2008-2011 ongoing, screenshot.</p></p> <br /> <div class="exhibition-description"><p><span class="caps">CORY ARCANGEL</span><br /> <span class="caps">TAUBA AUERBACH</span><br /> <span class="caps">BUREAU</span> OF <span class="caps">INVERSE TECHNOLOGY</span><br /> I/O/D<br /> <span class="caps">JODI</span><br /> <span class="caps">NAM JUNE PAIK</span><br /> <span class="caps">STERLING RUBY</span><br /> <span class="caps">KERRY TRIBE.</span></p> <p>As the highway rapidly connected people in new ways, it became a metaphor for modernity, progress and enlightenment. Less acknowledged was the highway&#39;s negative impacts; it divided people from their downtowns, riversides, amenities, and one other. <span class="caps">HIGHWAYS CONNECT AND DIVIDE </span>considers how artists - including Cory Arcangel, Tauba Auerbach, Bureau of Inverse Technology, I/O/D, <span class="caps">JODI,</span> Nam June Paik, Sterling Ruby, and Kerry Tribe - map the systems that impact upon us. Embracing errors and the irrational or redeploying technology, some artists directly abstract from cityscapes, some employ planetary metaphors, while others use abstract forms to figure how systems succeed and fail.</p> <p><span class="caps">NAM JUNE PAIK </span>coined the term "electronic super highway" in 1974 to conjure the communications technology landscape of the future. Beatles Electroniques (1966-72) documents his manipulations of a TV broadcast of the Beatles&#39; A Hard Day&#39;s Night (1964) where he used a magnet to disrupt the televised image, creating semi-abstract and completely abstract images that seem to make visible the electronic connections behind the sound and images of the mass media.</p> <p><span class="caps">CORY ARCANGEL </span>wittily confounds the relationship between technology and culture. Arcangel&#39;s Timeless Standards / Real Taste installation comprises a series of scans of a Mondrian-like sports-shirt design, and a modular, Coke Zero-filled humidifier. With the prints we experience a transformative journey from the city that Mondrian originally drew inspiration from, to his abstracted paintings, to the appropriated commercial designs, and then finally to Arcangel&#39;s semi-abstractions; while Real Taste, irrationally repurposes the hi-tech drink as fuel for a contemporary machine whose design concept seems to be a re-imagined 1950s modernity.</p> <p><span class="caps">TAUBA AUERBACH </span>explores randomness and precision in the details of systems of patterning and typography. Her Shatter series mixes chance - the shattering effect of broken glass to determine the structure of the image - with a purposefully ordered application of black and white paint. The results appear as clusters of radials, like a display of the nodes of an organic network, or a view of suburbia from the air.</p> <p><span class="caps">BUREAU</span> OF <span class="caps">INVERSE TECHNOLOGY </span>(BIT) is a group that playfully engages with new technologies in order to reveal the fact and fiction of corporate innovation. Their <span class="caps">BIT</span> Plane video (1997) poetically documents the journey of a mini-spy plane as it flies above the headquarters of the biggest computer and technology companies in Silicon Valley - "into the glittering heartland of the Information Age."</p> <p>I/O/D were pioneers of Internet art in the 1990s. Their I/O/D 4: The Webstalker (1997) uses nascent web crawler technology to map connections across the Internet in real-time, creating constellations of links within a radical browser application that acts as a kind of electron telescope of the hidden data of outlying cyberspace.</p> <p><span class="caps">JODI </span>are provocateurs who make art from the modification and disruption of software and operating systems, and the glitches within video-games. In the spirit of Paik&#39;s early TV experiments, their Geo Goo (2008-2011, ongoing) revels in error by radically disrupting Google maps. The platform seems to go mad with flowing icons, sharp zooms in and out, wild pans, and disorienting multiple perspectives in Street View.</p> <p><span class="caps">STERLING RUBY </span>explores technologies of control - within psychology, biology, art and architecture - and mechanisms devised to counter them. He often designs formal systems in order to expose the psychic structures that underlie social phenomena. His collage Existentialists 2 (2010) presents an arrangement of skulls around a circular shape that resembles a primordial mapping of the planetary system. The formation seems to have been long abandoned: it is covered in the graffiti and tagging common to highway underpasses and public parks.</p> <p><span class="caps">KERRY TRIBE</span>&#39;s films, videos and installations explore memory, imagination, and subjectivity. Her North is West / South is East (2001) is a unique account of a metropolis: random people at LA airport - some who had just flown there for the first time - were asked to draw their map of the city. The drawings are then placed in a clustered configuration on the gallery wall. As Tribe has said, "Taken together these chance encounters begin to describe a place at once real and imagined."</p> <p>The exhibition developed out of an exchange of ideas about art and technology with representatives from the Leonardo Education and Art Forum (LEAF), assembled for the upcoming College Art Association (CAA) conference The February 10 reception and performance is a <span class="caps">CAA </span>listed event.</p> <p>Many thanks to Ellen Levy from <span class="caps">LEAF </span>for her invaluable assistance and to the following organizations for their help: 1301PE Gallery, Los Angeles; Paula Cooper Gallery, New York; Electronic Arts Intermix, New York; Ricardo Guajardo; Jack Hanley Gallery, New York; Mondriaan Foundation, Amsterdam; Nam June Paik Studios, New York; Team Gallery, New York; and Video Data Bank, Chicago.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2006 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 6 - January 29, 2011</div> <br/> <a href="/exhibition/view/2005"><img border="0" src="http://foxyproduction.com/static/dyn-images/39/39708.jpeg" alt="Installation view, Foxy Production, New York" height="268" width="500" /></a> <p><p>Installation view, Foxy Production, New York</p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents work by three artists who foreground process in their inventive and unexpected transformations of images and materials. <span class="caps">DEVILLE COHEN, ANDREI KOSCHMIEDER </span>and <span class="caps">JOE WINTER </span>interweave production, performance and presentation in their reprogramming of everyday systems and procedures. </p> <p>Deville Cohen&#39;s performance-based photographs and video installations use black-and white Xerox images as integral elements in their mise-en-sc&egrave;ne. Sets, characters, and props become entangled in psychic dramas saturated with humor, desire, and anxiety. Cohen&#39;s video, The Wall, combines both "real" and Xeroxed objects, some of which - bricks, a Xerox machine - cover the performers&#39; faces. The central scene - a Xeroxed brick wall - is eventually punctured by a character in red heels, who simultaneously punctures any space between scenes and the objects and people in them. Cohen&#39;s two-dimensional works inspire the making of his videos: here he presents a series of drawings on collaged, Xeroxed paper, reminiscent of expanded, intriguingly dramatic and detailed film storyboards, that attempts but never quite succeeds in producing a cohesive narrative. </p> <p>Andrei Koschmieder makes painterly works that bring the studio into the street in witty, nuanced combinations of chance and choice. Koschmieder presents a series of images made using a low-tech contact print method that deliberately prolongs their production time. A local calligrapher was employed to add a sequence of texts to each image, giving them handcrafted yet repetitive marks. The set of works&#39; fusing of contrasting elements produces a dynamic quality where everything seems to collapse and come together at once.</p> <p>Joe Winter&#39;s images evolve and dissolve, often through the combustion of ink and light, and the force of error and malfunction. Winter has created an active, office-like area that includes a lamp focused on colored construction paper and a printer with print-outs of ethereal, deteriorating sunsets, emerging as the machine&#39;s ink runs out. Faded paper from under the lamp and abstract prints resulting from the violent shaking of the printer are hung on the walls. Nearby a dry erase board is smeared with marker ink; with the marker pen left there, poised for use, the destablizing of everyday processes seems to be an end in itself.</p> <p>Deville Cohen (Tel Aviv, 1977) lives and works in Brooklyn, <span class="caps">NY.</span> He studied at the Weiseensee Kunsthochschule Berlin and holds an <span class="caps">MFA </span>from Bard Collage, Annandale-on-Hudson, <span class="caps">NY.</span> Exhibitions include: Braverman Gallery, Tel Aviv (solo); Recess, New York (solo); Greater New York, MoMA <span class="caps">PS1,</span> Queens; The Company, Los Angeles; Lesley Heller Workspace, New York (all 2010); Nowhere Gallery, Milan (solo); <span class="caps">LAXART,</span> Los Angeles (screening)(both 2009); tor111, Berlin (solo)(2008); and Living Art Museum, Reykjavik, Iceland (2006). </p> <p>Andrei Koschmieder (Frankfurt, Germany, 1980) lives and works in Brooklyn, <span class="caps">NY.</span> He holds an <span class="caps">MFA </span>from the Staatliche Hochschule f&uuml;r Bildende K&uuml;nste, Frankfurt. Exhibitions include: White Columns, New York; Johan Berggren Gallery, Malm&ouml;, Sweden (solo); Credenza, New York (solo); Cleopatra&#39;s, New York; 179 Canal, New York (all 2010); <span class="caps">RGB LED,</span> Seoul, South Korea; Johan Berggren Gallery, Malm&ouml;, Sweden; Pro Choice, Vienna, Austria; Neue Alte Br&uuml;cke, Frankfurt (2009); Kunstverein St. Pauli, Hamburg, Germany; Literaturhaus, Frankfurt; and Hold &amp; Freight, London (both 2008). </p> <p>Joe Winter (Wilmington, <span class="caps">DE,</span> 1981) lives and works in Brooklyn, <span class="caps">NY.</span> He holds a BA in New Media Studies from Brown University, Providence, RI; and an <span class="caps">MFA </span>from UC San Diego. Exhibitions include: The Kitchen, New York (solo)(upcoming 2011); <span class="caps">CCS</span> Bard College, Annandale-on-Hudson, NY (project)(2010); Plug.In., Basel, Switzerland; Marian Spore, Brooklyn, NY; X Initiative, New York; Space 414, Brooklyn; Urbis Center, Manchester, UK (all 2009); Eyebeam, New York (2008); Los Angeles Municipal Art Gallery; University Art Gallery, UC San Diego; Compact Space, Los Angeles (all 2006); Museum of Contemporary Art, San Diego; Compact Space, Los Angeles (both 2005); and Estacion Tijuana, Mexico (2004).</p> <p>Special thanks to Johan Berggren Gallery and Michael Connor/Marian Spore.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/2005 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 21 - December 18, 2010</div> <br/> <a href="/exhibition/view/1930"><img border="0" src="http://foxyproduction.com/static/dyn-images/37/37475.jpeg" alt="" height="330" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>More World, <span class="caps">ESTER PARTEG</span>&Agrave;S&#39; latest solo exhibition at Foxy Production, plays with perceptions of excess, anxiety, pleasure, and deprivation. More World combines wallpaper, drawings, prints, sculpture, and video in a charged environment of color and contrast. Nature within the city, packaging, and fast-food provide inspiration for the artist&#39;s ironic takes on the psychic underpinnings of landscapes, surfaces, and objects.</p> <p>Parteg&agrave;s unpacks Pop, contaminating it with trash, removing its logos and references, and infusing it with a corrupted photo-realism. Private and public spheres sit uneasily together, as the artist traces the process of consumption: from the birth of desires in marketing to the final transformation of products into trash, the symbol of depletion and, perhaps, death.</p> <p>The walls of the gallery are covered by the monochromatic Wallpaper (Fences) (2010) with its repeating photographic images of fencing and trees. The landscape is immediately recognizable as an abandoned urban area, common to large swathes of the post-industrial American city. For Parteg&agrave;s the fence represents the division between the civilized and the wild, between order and disorder, and between the clean and the tainted; unnervingly, we cannot be sure which side of it we are on.</p> <p>Studies on Mysticism (2010), a series of iridescent candy package drawings, hang before the black-and-white wallpaper, creating senses of both animation and disorientation. Using airbrush and stencils - the tools of choice of pre-digital graphic designers - Parteg&agrave;s draws only the background designs, highlighting their cosmic, almost transcendental allusions, as if they were promising, with the purchase of a product, a kind of celestial reward. The works&#39; intense coloring amplifies merchandising&#39;s optimistic appeal, one so often undercut later by dissatisfaction and disillusion.</p> <p>Organized Fries (2007-2010), also hung directly onto the wallpaper, are digital prints of arrangements of French fries on brightly colored backgrounds. Parteg&agrave;s makes the humble fry - unremarkable, almost invisible in its ubiquity - the focus of attention, the essential element within the visual systems she develops. She wittily places and classifies each fry with a formal precision reminiscent of a natural history museum exhibit.</p> <p>Overcast (2010) are sculptural renderings of outdoor potted plants that have been covered in plastic bags to protect them from the winter weather. Their plastic covering is their protector from the elements as well as their oppressor - it seems to both constrict and suffocate. Cast in polyurethane, their leaves have a bright pigmentation that gives them an uncanny, almost surreal quality.</p> <p>You Are Here (Lightbox) (2006-2010) is an illuminated idyllic forest scene that on closer scrutiny may not be quite what it seems: weeds sprouting in the foreground and strange marks and printing inconsistencies reveal the scene to be a photographic screen. The image is in fact of a hoarding around a Chinese building site, masking its dirt and disruption with a vision of bucolic splendor. Perception is distorted, and flatness and depth collapse into one another as differing levels of reality refract and disorient.</p> <p>The silent video Ghost (2009) reflects the world through a trash-strewn puddle on a lonely industrial street. A truck rolls by, pigeons fly overhead, and an electronic advertising sign changes. Ghost distils many of the themes of More World: the odd glamour of the marginal and the discarded, the possibilities of multiple perspectives on the one subject, the trickiness of absolutes, and the experience of looking with fresh eyes upon the ordinary and everyday. As the video progresses it is clear that even the most mundane and forgotten backstreet, the so-called "non-place", is rife with transformative activity.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1930 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 9 - October 16, 2010</div> <br/> <a href="/exhibition/view/1929"><img border="0" src="http://foxyproduction.com/static/dyn-images/36/36750.jpeg" alt="" height="276" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents London-based artist <span class="caps">GABRIEL HARTLEY</span>&#39;s inaugural New York solo exhibition. Hartley&#39;s paintings and sculptures combine early modernism&#39;s vitality and rawness with elegant configurations of marks, forms and colors that appear both timeworn and fresh. His work engages with Futurism, Expressionism, and Primitivism&#39;s interests in universality and the expansion of the vocabulary of painting and sculpture, as it looks in new ways at abstraction and representation. Within his works he builds systems of brushstrokes and colors - alive with movement and light - that always seem on the verge of either evolving or dissolving.</p> <p>Hartley presents large-scale oil paintings, smaller oil and spray paintings, and sculptures made from paper and resin. His large paintings have bold linear brushstrokes and distinct color patterns that recall early modernism&#39;s plays with abstraction and perspective. They have an almost digital, photographic quality to their multiple and shifting focuses and depths of field. Their spatial effects - generated through a mix of gloss and matte paint and by burning their surfaces - produce both a flatness and an almost sculptural multi-dimensionality within the same work. Their shapes never quite gel into outright figuration; yet, the movement within their structures often has a sensuous dance-like quality that is energized by intimations of Primitivist human forms.</p> <p>Hartley&#39;s smaller paintings have a Turneresque diffuseness that subtlety draws the viewer into their fields of oil and spraypaint. This is balanced by sharp marks and strokes, and a textured paint surface that give them a cratered, scratched appearance. The paintings&#39; contrasts between their delicate gradations of color within their restrained palettes of stony blues, grays, and golds, and their rough-hewn, crusty finishes produce a palpable sense of tension.</p> <p>Hartley&#39;s sculptures have at times eroded, metallic, and rusty appearances that belie their paper, resin, and pigment composition. They can seem like unruly Boccioni sculptures that have been left to the ravages of time or that have succumbed to a languid sensuality. Mould, with its intricate crossing lines and frostings of aqua and cream pigment, recalls both an eroding Futurist machine and an evolving organic creature. Peak with its sheen of slate powder resembles at once Chamberlain&#39;s crushed metal forms and a large being that is materializing before our eyes.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1929 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 1 - August 6, 2010</div> <br/> <a href="/exhibition/view/1769"><img border="0" src="http://foxyproduction.com/static/dyn-images/35/35921.jpeg" alt="" height="322" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production&#39;s summer group exhibition, <span class="caps">THE PENCIL SHOW, </span>spotlights the graphite pencil that - as a tool of line, texture, and form - can conjure the marvelous and magical within the confines of a plain sheet of paper. From the doodle to the cartoon to the sketch, the marriage of pencil and paper has often been the mind map of the masterpiece. The exhibition illuminates drawing&#39;s play with both the whimsical and the profound within the configuration of its monochrome marks. </p> <p>With modest means the works in The Pencil Show engage promiscuous methods and ideas: they range from the baroque to the minimal, the polished to the raw, the graceful to the aggressive, the photorealist to the abstract. The uncensored, unfiltered nature of the doodle carries through into the content of many of the works: they can elicit a polymorphous perversity that is, at times, fanciful, dark, and lascivious. Text plays a vital role in a number of works: it can be both an integral visual element as well as a potent poetic meditation that seems to spring from fissures in the subconscious.</p> <p>The drawing can involve an instinctive, gestational process, where concepts can refract, crystallize, or become productively detoured, and where compositions stretch from purposefully smudged and dissolving forms to symmetrical, almost mathematical patterning. Through its intimate relationship with its materials and its inherently reflexive nature, drawing invites the viewer into prescribed and seemingly private spaces where lines and fields are rubbed, etched and shaded into allusive and charged psychic landscapes.</p> <p>The Pencil Show creates a dialog among a range of artists, working with diverse methods and concerns and in varying stages of their careers. It includes works by: D-L Alvarez, Jarrod Anderson, Hany Armanious, Daniel Barrow, Guy Benfield, Sascha Braunig, Ellen Cantor, Olga Chernysheva, Rob Churm, Kate Davis, Louise Despont, Dick Evans, Dan Fischer, Robert Gober, Tomoo Gokita, Violet Hopkins, Charles Kanwischer, Rob McKenzie, Keith Mayerson, Jimmy Robert, Sterling Ruby, Michael Sanchez, Matt Savitsky, Travess Smalley, Team Macho, Jeffrey Tranchell, Kon Trubkovich, Hannah van Bart, and Roger White.</p> <p>Foxy Production would like to thank the artists for their participation and the following galleries for their invaluable help in facilitating the exhibition: <span class="caps">ATM</span> Gallery, New York; Nicelle Beauchene Gallery, New York; Marianne Boesky Gallery, New York; John Connelly Presents, New York; Sorcha Dallas, Glasgow; Derek Eller Gallery, New York; Matthew Marks Gallery, New York; Shaheen Modern &amp; Contemporary Art, Cleveland; and Rachel Uffner Gallery, New York.</p> <p>Exhibition coordinated by Ebony Haynes</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1769 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 7 - June 26, 2010</div> <br/> <a href="/exhibition/view/1767"><img border="0" src="http://foxyproduction.com/static/dyn-images/33/33921.jpeg" alt="" height="324" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">HANY ARMANIOUS</span>&#39; second New York solo exhibition at Foxy Production, Birth of Venus, further expands his lexicon of object-making. On entering the gallery the viewer is confronted with a number of arrangements of seemingly disparate elements, with each grouping carefully placed in relation to the others. A sparseness pervading the overall scene is disrupted by a number of small individual objects, and pockets of color - reds, greens, and subtle mauves - stand in relief to the monochrome of many of the surfaces in the space.</p> <p>With an uncanny verisimilitude, Armanious has obsessively cast sculptures in resin, fiberglass, and pewter from molds of randomly found items, including a squeezed lump of putty; a ceramic 1970s ashtray; a polystyrene sphere; makeshift tabletops and bases; a haphazardly-mended plinth sitting alone, its sculpture long gone; and a large carved head, based on a sculpture by Picasso, that gazes at a vase taped to a workbench. Accompanying these elements is a series of Sneeze Paintings, flat-works inspired by the involuntary act of sneezing; in lilac tones with mesmerizing patterning, they sit propped against a wall of the gallery.</p> <p>Botticelli&#39;s The Birth of Venus depicts the nude goddess of love entering the world as a fully formed adult, blown to shore on a large scallop shell. Not unlike Venus herself, Armanious&#39; sculptural works emerge fully formed from their molds, resembling in every detail - except their materials - the original objects that they were cast from. Venus&#39;s birth, the origin of desire and beauty, represents to the artist the act of casting, where he magically transforms the mass- produced, the provisional, the degraded and the cast-off into resonant and beautiful objects.</p> <p>With a compulsive drive, Armanious delves deeply into the production and reception of sculpture: into the actions on materials that<br /> produce articulated forms; and into how a sense of beauty can be manufactured, defined and understood. He explores the ways an artwork can command a presence or its own aura within the exhibition space, and he complicates the relationship between sculpture and support by muddying their definitions and boundaries: his objects can be both sculptures and bases. The connections amongst elements in the arrangements and scenes he creates recall Robert Gober&#39;s lyricism, yet the links that Armanious makes are less narrative in nature. There is a poeticism in his work that scrambles the semantics around the relationship of the original to the copy: he focuses primarily on the joy in the beholding of the exquisitely finished object.<br /> <br /> ---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1767 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 2 - May 1, 2010</div> <br/> <a href="/exhibition/view/1841"><img border="0" src="http://foxyproduction.com/static/dyn-images/33/33448.jpeg" alt="JIMMY BAKER installation view, Foxy Production, New York" height="335" width="500" /></a> <p><p><span class="caps">JIMMY BAKER </span>installation view, Foxy Production, New York</p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents a group exhibition of paintings and works on paper by Jimmy Baker, Sascha Braunig, Tomoo Gokita, and Violet Hopkins that mixes realism and optical fantasy. With very different approaches the artists make familiar images resonate with odd psychic energies: they conjure symbolic and emotive scenes that transform conventional perspectives into hallucinatory visions.</p> <p>Jimmy Baker&#39;s oil and resin paintings possess a fluidity that at once embraces and flouts figurative norms. With an eye to the history of landscape painting, he projects through a Romantic lens what appear to be war-journalists&#39; images of plane crashes (one crash site had in fact been "remote viewed" by <span class="caps">CIA </span>psychics before being discovered). Baker elides the fantastic and the realistic in these scenes of extreme actions set before backdrops of serene beauty.</p> <p>Sascha Braunig combines vibrant color and an hypnotic style in paintings that reflect upon illusion and the surface of the image. In dream-like scenes where repetition and patterning are foregrounded, Braunig&#39;s female subjects - with their eyes covered by crystals or replaced by lights - emit an extrasensory glow. Flaring with reflected color, they are iridescent beings whose very skin seems to be a source of psychic power.</p> <p>Tomoo Gokita&#39;s monochromatic paintings fragment, distort and reconfigure familiar, highly charged images. His black-and-white enamel and spraypaint portraits push figurative disintegration to the limits. His subjects, in the process of disassembling, allow multiple, often enigmatic readings to be made. Black lines on white fields form figures that seem to override the images beneath them, as if Gokita&#39;s paintings were battlegrounds for competing representations.</p> <p>Violet Hopkins&#39; works on paper bring inner and outer worlds together: her watercolors on black paper use a Rorschach-like technique to produce beautiful, uncanny images that may be either strange microscopic beings or unknown solar systems. Just like Rorschach&#39;s, Hopkins&#39; Inkblots demand viewers hook their imaginations into the flows and swirls of color. With a sensibility that mixes Romanticism and skeptical inquiry, Hopkins&#39; works delve into the metaphysical and symbolic basis of our relationship to abstract forms.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1841 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 19 - March 27, 2010</div> <br/> <a href="/exhibition/view/1766"><img border="0" src="http://foxyproduction.com/static/dyn-images/32/32339.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents <span class="caps">LARS LAUMANN</span>&#39;s inaugural New York solo exhibition. Laumann&#39;s videos and works on paper twist and tease fact and fiction into poetic narratives, ripe with coincidences and odd associations. Using both appropriated and original content, he portrays extraordinary characters as they negotiate the historical and social forces that bear upon them.</p> <p>In the exhibition, Laumann combines videos and lithographs in a layered and playfully philosophical exploration of authorship and originality. He analyses both the drive to create and the drive to censor. His works use voice and language to wryly probe the possibilities of individual and collective agency.</p> <p>Author and activist Helen Keller and the plagiarism controversy that followed the publication of her childhood short story The Frost King (1891) are central to Laumann&#39;s video Kari &amp; Knut. Named after a Norwegian children&#39;s game, it tells the story of a rebellious Iranian student who struggles against the authority of her doctrinaire professor. She defends Keller&#39;s work and decries the effects of the plagiarism dispute upon Keller&#39;s creative output. Re-editing a post-Revolutionary Iranian drama based on Sallinger&#39;s Franny and Zooey with documentary footage of the denazification of Germany and sound by Swedish musician Dan-Ola Persson (who also created the music for Laumann&#39;s acclaimed Berlinmuren), Laumann spins a complex web of connections about the transmission and policing of ideas.</p> <p>In the screen-based video Duett (styrken i v&aring;r tro i en sang, i en sang), Laumann grapples with truth, fiction and memory: Donald Rumsfeld discusses "known knowns" and "unknown unknowns" in relation to Afghanistan, while Margaret Thatcher boldly defends the British sinking of the Argentine navy cruiser the General Belgrano. The original footage is reworked with Persson&#39;s music added, and then repeated within a section of a large plasma screen that has been positioned on its side.</p> <p>Laumann presents two black-and-white lithographs - one a haiku, the other a limerick - that use a self-invented font of hand-drawn fingers. Without spacing, each character runs into the next, making an initial reading more like a decoding. Both works wittily and unnervingly relate recovered memories of alien abduction and physical violation. Laumann&#39;s conflation of letter and image gives his texts a pictorial dimension that intensifies their humorous yet deeply disturbing qualities.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1766 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 10, 2009 - February 13, 2010</div> <br/> <a href="/exhibition/view/1765"><img border="0" src="http://foxyproduction.com/static/dyn-images/30/30585.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Berlin-based artist <span class="caps">SIMONE GILGES</span>&#39; inaugural New York solo exhibition at Foxy Production integrates a diversity of images, forms and materials into an evocative whole. As interested in refusals and mystery as in revelation and transparency, Gilges fashions lyrical and affecting arrangements of photographs, textiles, and sculptures.</p> <p>Gilges&#39; black-and-white, monochrome, and full color photographs cross continents, styles, and perspectives. Portraits, landscapes, and expansive outdoor crowd scenes, shot in Europe and Africa, alternate in scale from the intimate to the panoramic. Rural markets, indoor beaches, stormy mountain lakes, and family and solo portraits are presented in moody black-and-white, a documentary-style spectrum of color, or in vivid reds or greens. Her subjects, perspectives, colors, and treatments sustain a powerful reflection on the photograph, its exhibition, and reception: on what it can impart; what it may hold back; and what it can suggest within such a broad and diverse context.</p> <p>Curtains are a recurring motif of the exhibition, often giving their subjects an eerie, spectral quality: they are superimposed on a portrait, using double-exposure; they are placed between a portrait and its glass; and they shroud a series of images of different parts of the body. There are photographs of curtains, and framed curtains, with and without glass, made from plain and patterned textiles sourced from Africa, Asia and Europe. The curtain, with its resonances of the theater and of domestic privacy, inflects the exhibition with drama, suspense, provocation, and irony. The fabrics hide as much as they reveal. Playfully questioning the documentary photograph&#39;s claims to truth and realism, they open the stage to the spectator&#39;s imaginings.</p> <p>Gilges&#39; intricate images and materials are offset by clay sculptures in biomorphic, pod-like shapes. Resembling ancient pottery, some are unadorned and unglazed, while others are colored and highly glazed. Positioned on pedestals of varying sizes, together, they give the impression of a cityscape in miniature or of a series of incubators. Their placement and their primal, handcrafted styling suggest a universalism, a traversing of time and place, that sets the other works in the space and their myriad differences in relief. The exhibition&#39;s juxtaposed images and objects become part of a dynamic series that allows its disjunctures and associations to run riot with the viewer&#39;s imagination.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1765 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 16 - November 21, 2009</div> <br/> <a href="/exhibition/view/1764"><img border="0" src="http://foxyproduction.com/static/dyn-images/29/29183.jpeg" alt="" height="754" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents The Masturbators, a multiple channel video installation by <span class="caps">STERLING RUBY </span>that provocatively complicates the genre of performance video. Ruby uses porn stars as performers, positioning his viewers as the voyeurs of his actors&#39; intimate sexual actions, in a charged examination of the role of the artist and the construction of masculinity.</p> <p>Male porn actors are asked to masturbate to climax, solo, in an empty room standing on color-coded towels. Instructions are given by the artist, a still photograph is taken, and then, as the action begins, the actors are left alone, never being sure if anyone is watching from the other side. Without their usual performance context, each pursues the given task with varying results.</p> <p>With pornography&#39;s formulaic sets and scenarios removed, the actors are left somewhat adrift, giving each performance an experimental air. The work&#39;s combination of endurance and improvisation is reminiscent of early performance video, where an artist was often alone in the studio, performing acts of repetition and physical stamina and often addressing the relationship between artist, artwork and audience. Ruby reworks this genre, multiplying and refracting it through the use of professional porn stars who collapse the roles of actor, performer, and artist.</p> <p>With their tattoos, their armors of muscle, and the moans, groans, and grinds of their excessive libidinous acting out, the veneer of hyper-masculinity becomes sharply visible, and the theatricality, the script, of maleness becomes starkly clear. The work sustains a tension that goes beyond the experience of duration and repetition, beyond the humor, fear, anxiety, or lust of witnessing sexual performances: it is a tension inherent in male desire and the abiding fictions that seek to both define and sublimate it.</p> <p><span class="caps">STERLING RUBY </span>makes richly glazed biomorphic ceramics, large-scale spray-painted canvases, poured urethane sculptures, nail polish drawings, various forms of collage, and hypnotic videos. His work is a form of assault on both materials and social power structures. He takes his subject matter from a wide range of sources, including marginalized societies, maximum security prisons, modernist architecture, artifacts and antiquities, graffiti, bodybuilders, the mechanisms of warfare, cults and cult members, and urban gangs.</p> <p>With thanks to Electronic Arts Intermix, New York, and PaceWildenstein, New York, for technical support.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1764 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 10 - October 10, 2009</div> <div class="exhibition-opening">Opens Thursday, September 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1763"><img border="0" src="http://foxyproduction.com/static/dyn-images/28/28059.jpeg" alt="" height="334" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">MICHAEL BELL</span>-SMITH<br /> <span class="caps">HEATHER COOK</span><br /> <span class="caps">HILARY HARNISCHFEGER</span><br /> <span class="caps">GABRIEL HARTLEY</span><br /> <span class="caps">XYLOR JANE</span><br /> <span class="caps">ILIA OVECHKIN</span><br /> <span class="caps">MAX PITEGOFF</span><br /> <span class="caps">TRAVESS SMALLEY.</span></p> <p>Foxy Production presents <span class="caps">ABSTRACT ABSTRACT, </span>an exhibition of paintings and prints that interprets and deploys abstraction in surprising and provocative ways. The artists - Michael Bell-Smith, Heather Cook, Hilary Harnischfeger, Gabriel Hartley, Xylor Jane, Ilia Ovechkin, and Max Pitegoff and Travess Smalley - reset the art-historical boundaries of abstraction, infusing it with unexpected elements and influences. Avoiding a sense of purity, they play abstraction off against representation. They use a range technologies - from the old to the very new - to push its possibilities to the limits, or to reconstitute subtly its different styles into new amalgams. </p> <p><span class="caps">MICHAEL BELL</span>-SMITH&#39;s digital prints are Pop-infused, conceptual takes on contemporary culture. For Abstract Abstract he directly appropriates a series of composition notebook covers, with their traditional marbled design and black sewn binding. The books&#39; patterning is associated with order, restraint and propriety; yet, its swirling forms also present a vision of the infinite, as if inner or outer space could be found within. </p> <p><span class="caps">HEATHER COOK </span>paints with bleach, oil or acrylic upon cut or sewn printed fabrics. Folds are key to her works; appearing as marks or creases, they provide them with a textured quality and a dramatic, scultpural bearing. With their combination of flatness and depth, they appear to be in the throes of material transformation, flowing out into the space. </p> <p><span class="caps">HILARY HARNISCHFEGER</span>&#39;s paintings combine paper, plaster, ink, glass, and quartz and other minerals in intricate and expressive abstractions. Appearing at once historical and contemporary, they charter a potently visceral course in their reworkings of Modernist strategies. Their paradoxically bold yet subtle treatments of material, line, depth and space crystallize within corporeal fields of color. </p> <p><span class="caps">GABRIEL HARTLEY</span>&#39;s oil paintings, sculptures, and over-painted postcards transition the techniques of historical abstraction into an expressionistic system of appropriation and reference. His work sustains a sense of action, emotion, and rawness, where his subjects seem caught dynamically in the process of unravelling. </p> <p><span class="caps">XYLOR JANE</span>&#39;s paintings are complex, inter-relational tableaux of colors, numbers, grids and histories. Their intense patterns invite engagement as they point to narratives that are, at first, only partially revealed; on contemplation, their poetry, physicality and emotions become palpable. </p> <p>Layering images one on top of the other, <span class="caps">ILIA OVECHKIN </span>uses digital technology to examine the relationship between digital representations and traditional painting. He uses commercial large-format inkjet printing to produce uncanny combinations of techniques, patterns, and shapes. </p> <p><span class="caps">MAX PITEGOFF </span>and <span class="caps">TRAVESS SMALLEY</span>&#39;s prints go against the grain of conventional digital image-making, contradicting its Realist values of transparency, depth of field, and perspective. Their works are simultaneously flat and multi-dimensional fields of colors, abstract forms and representational images. With their broad mix of inputs and approaches, they inventively play with the structure of online design, and the way it circulates. </p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1763 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 21 - July 24, 2009</div> <br/> <a href="/exhibition/view/1341"><img border="0" src="http://foxyproduction.com/static/dyn-images/25/25690.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>In <span class="caps">VIOLET HOPKINS</span>&#39; second solo exhibition at Foxy Production, Afraid He Might Be Mistaken For A Centaur, the artist appropriates images from the 1977 Voyager space mission&#39;s Golden Record, its catalogue of photographs, diagrams and sounds designed to communicate life on Earth to any aliens who may be encountered en-route. Hopkins reproduces a number of these images in ink on paper, and then anchors the exhibition with two large paintings: one of the record&#39;s instructional cover, and the other of an eye reflecting a solar eclipse.</p> <p>The exhibition conflates past, present and future in a conceptual but affective exploration of perception. Hopkins highlights the cultural assumptions embedded in the Golden Record project, taking a laconic yet immersive approach to the values it embraces. She underscores the mission&#39;s glorious ambitions with a sense of loss: using photography as a central theme, she explores the limitation of possibilities inherent in fixing an image to a concept.</p> <p>Purposefully mixing idealism with an undercurrent of anxiety, Hopkins&#39; Golden Record series resembles a set of frames from a long-forgotten documentary. Some of the images - a naked pregnant Caucasian woman holding hands with her lover, a male artist painting in his studio with his female muse - highlight the catalogue&#39;s unacknowledged presumptions about who should be represented and how. Other images seemly oddly random - a small frog and a huge alligator scaled by the presence of a human, people walking the great Wall of China, a close up of sea-shell - forcing one to attempt to make sense of their inclusion.</p> <p>These watercolor paintings are drawn from online images of slides of the Golden Record photographs, and bear witness to the complex layers of appropriation and change that the images have undergone over time. The originals are almost impossible to access in their pristine form, and Hopkins&#39; works, with their faded quality and at times magenta tinting, evoke an emotive sense of time passed.</p> <p>Hopkins&#39; large painting of the catalogue&#39;s cover appears at first to be the depiction of a circular monument covered in ancient hieroglyphics. The purpose of the inscriptions is illusive: only the original producers would be able to read its symbols; an alien would certainly be stumped. Despite its illegibility, it possesses a strange beauty: its golden lines form odd shapes that cajole one&#39;s imagination to find meaning.</p> <p>Hopkins&#39; large painting of an eye reflecting a solar eclipse is distinctly cinematic in style, complexly exploring the relationship between image-taker, image and viewer. On close inspection, the work&#39;s intense, over-arching realism dissolves into painterly abstraction, encapsulating the central themes of the exhibition as a whole: the work&#39;s haunting eclipse figures contemporary anxieties about the future, while the surrounding eye highlights the critical importance of coming to terms with subjectivity.</p> <p><span class="caps">VIOLET HOPKINS</span>&#39; drawings and paintings combine layers of appropriation with both a visceral realism and an expressive sense of fantasy. Often inspired by found images of the natural world, Hopkins uses ink, paint, and pencil to conjure vivid scenes that seamlessly incorporate figurative and abstract elements. Her subjects - wild animals, geological formations, flora - transform into abstract patterning, membrane-like forms, and hallucinatory movements. Her renderings of line and color highlight the drawing process, while allowing shifts in consciousness between the real and the imagined. Her works fuse an external world of nature with a psychic world of symbolism and allegory.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1341 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 10 - May 15, 2009</div> <br/> <a href="/exhibition/view/1197"><img border="0" src="http://foxyproduction.com/static/dyn-images/25/25027.jpeg" alt="" height="399" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DOUBLE HEMISPHERE </span>is a group exhibition of collage, sculpture, painting, drawing, and video by Hany Armanious, Michael Bell-Smith, Rafa&#321; Bujnowski, Simone Giles, and David Noonan. The artists infuse pared-down, monochromatic and patterned approaches with a sense of the poetic and the paradoxical.</p> <p>Double Hemisphere includes line tracings of carpet designs by Hany Armanious; a painterly geometric animation by Michael Bell-Smith; a lustrous black oil painting by Rafa&#321; Bujowski; an installation of sculptural elements below a fabric half-cube by Simone Giles; and a grainy, angular silk-screened collage by David Noonan.</p> <p>A Double Hemisphere map displays two sides of the globe on the one chart; similarly, the works in the exhibition hold apparent opposites within themselves, including abstraction and figuration, hidden and revealed features, and both streamlined and intricate forms. These juxtapositions instill the works&#39; often-minimalist strategies with a drive toward metaphor and lyricism.</p> <p>Hany Armanious&#39; tracings on paper of carpet patterns are direct and unambiguous actions upon everyday materials. They are also excavations of the ideas embedded within the original designs. Sparking travels into the imaginary, Armanious&#39; drawings repurpose ornamentation, revealing how conventional composition can be reworked and rethought.</p> <p>In a new video from Michael Bell-Smith, shapes converge and then fragment to the accompaniment of an ambient, anthemic soundtrack. Combining repetition and variation, and flatness and depth, the work recalls the visual and musical language of TV and movie companies&#39; animated logos. It engenders a sense of exhilaration - as the forms come together and the music rises - that quickly dissipates as they shatter and move apart.</p> <p>Rafa&#321; Bujnowski&#39;s black oil painting Lamp Black: Pentagon (7) combines two distinct areas of luminous patterning within a sharply geometric whole. The work&#39;s groove-like texture, its reflective sheen, and its irregular shape transcend pure abstraction: it moves toward a transitional space where associations and sensualities form and dissolve.</p> <p>Simone Giles produces and arranges images and objects that create expressive, charged atmospheres. Here Gilges exhibits a cube of tropical wood resting diagonally on a bed of linen, a fragment of a plaster mask with an abstracted nose, a photograph of a child-like arm on a carved wooden ledge, and a half-cube fashioned from black fabric that seems to float magically above the other works. The artist creates an intriguing symbolic system that is permeated by a powerful sense of transience and imbalance.</p> <p>David Noonan&#39;s Untitled, a silkscreen on jute with linen collage, depicts a child at play with a strange puppet. The scene is dominated by the diagonal lines of the child&#39;s teepee playhouse. The work&#39;s rough-hewn texture and its decolored, low-resolution imagery reduce its narrative force, while amplifying its sense of formal and emotional unease.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1197 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 16 - March 28, 2009</div> <br/> <a href="/exhibition/view/1340"><img border="0" src="http://foxyproduction.com/static/dyn-images/22/22234.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Geneva-based painter <span class="caps">JONATHAN DELACHEAUX </span>and Philadelphia-based sculptor <span class="caps">LIZZIE FITCH </span>in an exhibition that places the figure within revealing new fields of association. Both artists create identities that seem to be unraveling before our eyes, caught within ever tangling narrative threads.</p> <p>Jonathan Delachaux portrays characters within extended storylines that explore the mythological resonance of the figure within the painted scene. He uses a highly unusual technique: painting on plastic film in reverse, with the final layer of paint applied being, in effect, the background; he then places the painted plastic on a canvas and, when dry, removes the plastic to reveal a painting with an uncannily flat, photographic quality. In this series of paintings, Delachaux&#39;s characters build a Golem, the man-made creature of clay first cited in the Talmud. But rather than being the subject of a precise moral narrative, the Golem in Delachaux&#39;s works literally muddies canvases, the scenes upon them, and the relationship between canvas and scene. The works move from almost cinematic depictions to stylized, impressionistic views where the plastic film of the artist&#39;s process becomes a central subject of the painting itself. It is as if the Golem has run amok in the artist&#39;s studio, contaminating the artistic process, like a primeval computer virus, and in doing so confounds the divisions between artist, process, and product.</p> <p>Lizzie Fitch&#39;s sculptural work brings together disparate objects, styles, and modes of assembly to construct figures and environments that push the limits of what the body is, and what it can represent. Inspired by the cut and paste of digital technology, she combines clothing fresh from the store, hand-made items she has purchased, objects she has fashioned herself, and cast body parts, among many other elements, in works that range from the figurative to the radically deconstructed. Even though her choice of materials is broad and their arrangements remarkably varied, each work maintains an expansive, anthropomorphic quality that hovers between figurative resolve and dissolution. The panoply of objects that Fitch uses coheres into moody narratives that place the viewer within a seductive, yet conflicted space of both lyrical engagement and unease. Fitch creates an evocative theater of the body, where definitions of character and self, of persona and person, are rendered dangerously and delightfully unstable.</p> <p>Both Delachaux and Fitch&#39;s work brings to mind, in different ways, the theater productions and paintings of avant-garde Polish artist and director Tadeusz Kantor, in particular his use of mannequins as central players, and body parts as costume. It is as if Delachaux and Fitch have taken on board his project to continually reinvent the figure within ever broadening terms of reference, to expand exponentially upon what the human body can represent.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1340 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 21, 2008 - January 10, 2009</div> <br/> <a href="/exhibition/view/1195"><img border="0" src="http://foxyproduction.com/static/dyn-images/34/34127.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Les Lettres Tristes, a collaboration between New York-based artists <span class="caps">LUCAS AJEMIAN </span>and <span class="caps">JULIEN BISMUTH </span>that investigates the creative potential of detours through language, action and image. Taking the experience of distraction as their starting point, the artists discursively explore the experience of being diverted from one&#39;s train of thought.</p> <p>Les Lettres Tristes (The Sad Letters) refers to the Lettristes, the members of the avant-garde group, established in mid-century Paris, who used letters, hieroglyphics and other graphic symbols to create wildly experimental films, poetry, and art-works. Like a snapshot of Lettrisme itself, the exhibition combines key features of a number of Modernist movements, including Abstractionism, Dada, and Situationism, to generate a constellation of inter-related writing, video and objects.</p> <p>Les Lettres Tristes&#39; many elements are distilled within a weekly journal incorporating the words and images of a number of invited artists and writers. Surrounding these growing stacks of papers, the exhibition comprises a directional sound piece of recorded excerpts from the newspapers, a double screen performance video, minimalist sculptures, a series of text and image-based wall pieces, an alphabetical animation, and a table covered with diagrams and plans.</p> <p>Central to the exhibition is a yet to be made collaborative film. Still in the conceptual stage, it ties all the elements in the gallery together. The artists have written:</p> <blockquote><p>The anchor of this project, its horizon line as well, is a film. For the past two years, we have been working on a feature-length film, titled Les Tristes. The idea originated from a photo shoot, from its discards, images we had of the participants walking from one location to the other holding up large white signs, each of them decorated with a single letter. The film would consist of movements of individuals and groups, all of them holding letters, the letters of the French alphabet in a city, a city which could almost be any city, but which in this case will be New York City.</p></blockquote> <p>It is from the planned film that the deflections and digressions are made that eventually form the works in the show. </p> <p>The Les Lettres Tristes newspaper, a broadsheet the artists have described as "a script to a play in a theater of distraction", is delivered weekly to the gallery. Each edition features work by a number of artists and writers, and includes poetry, anagrammatical writing, alphabetic artworks, cartoons, games and articles gleaned from other publications.</p> <p>From these newspapers the artists have recorded excerpts that are played in the gallery using a very narrow beam sound system. This audio can take people moving through the space by surprise; they may feel they are overhearing strange private conversations.</p> <p>Set Pieces is a double-screen video that plays with the central ingredients of dramatic performance: actor, script, and prop are skewed in their relation to one another without undermining the viewer&#39;s suspension of disbelief. Ajemian and Bismuth are the main players in a number of vignettes whose central props are flat chroma-key green shapes that resemble oversized, unfinished origami forms.</p> <p>These props have been replicated in metal and sit like odd minimalist sculptures within the main gallery space. Also titled Set Pieces, they underline the lateral and at times humorous inter-referencing of the exhibition&#39;s constituent parts.</p> <p>A Hole in Copenhagen is a series of wall-based works combining images cut from newspapers with annotated excerpts from a play in the process of being written. The works obliquely and wittily capture the collaboration process in its conceptual phase.</p> <p>In the backspace of the gallery, a video animation links letters to words and gestures, recalling the absurdist nature of Sesame Street alphabet games. Also in the space is a table with notes, models and plans upon it, acting as a repository for the artists&#39; ideas that were surplus to the final exhibition.</p> <p>Lucas Ajemian and Julien Bismuth have collaborated on a series of projects since 2005. </p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1195 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 17 - November 15, 2008</div> <br/> <a href="/exhibition/view/1194"><img border="0" src="http://foxyproduction.com/static/dyn-images/34/34018.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Civil Dusk, <span class="caps">JIMMY BAKER</span>&#39;s second solo exhibition at Foxy Production, introduces a new series of intense and moody oil and resin paintings. In Civil Dusk - the period after the sun has edged below the horizon and objects are still distinguishable - Baker uses cloaks of fog, smoke, or dust, and disorienting inversions and combinations to make the known feel uncanny. Baker explores American landscape painting&#39;s myths of expansion and freedom, and its conjuring of sentiment and the sublime. He relates its strategies to those of the contemporary media, refracting scenes gleaned from television and the Internet through the lens of Romanticism. His new paintings exhibit a dramatic high gloss sheen that is at once seductive and distancing: they act as both screens and mirrors.</p> <p>As if situated within the eye of a storm, Baker&#39;s paintings bear a calm surface that is underscored by a sense of impending turmoil. The work Passing presents a vista of lake, mountain and sky that could be found as easily in the American West as the troubled ranges of Afghanistan; in View from <span class="caps">CCTV, </span>a vast mountain-scape is seen through the windows of what may be a military observation tower; and in Iron Mountain, the huge underground storage facility is depicted in deep reds and grays, eliciting senses of both safety and fear. Baker dramatizes the boundaries of representation, depicting unbounded visions tempered by a consciousness of spatial, existential and social limitation.</p> <p>Moving across continents and through clouds, Baker&#39;s perspectives blur definitions and ready identifications: a star atop a Stalinist tower&#39;s spire appears to float off into a turbulent foggy Moscow sky; a fiery, riotous Guy Fawkes celebration is captured in a dramatic palette of red, yellow and black; and a Middle Eastern palace appears through a miasma of dust. Baker creates a filter between viewer and scene that both romanticizes and disengages its subject, producing a profound sense of displacement.</p> <p>The works in Civil Dusk picture the impossible in the most credible ways. With bravura they play with the conventions of visual artifice in painting: above an expanse of blackness, lights reflect upon still water and night falls upon a mountain range; and a nighttime air attack appears inverted, above an outcrop in a wintry alpine terrain. Baker&#39;s paintings beguile with their suspension of the laws of perspective and gravity, seducing the viewer while laying bare the devices of traditional landscape painting.</p> <p><a href="http://www.jimmybaker.com/"><span class="caps">JIMMYBAKER.COM</span></a></p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1194 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 9 - October 11, 2008</div> <div class="exhibition-opening">Opens Tuesday, September 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1192"><img border="0" src="http://foxyproduction.com/static/dyn-images/33/33987.jpeg" alt="" height="291" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents New Work, an exhibition of recent photography and video by Moscow-based artist <span class="caps">OLGA CHERNYSHEVA.</span> Chernysheva has developed a distinctive and poetic iconography: figures are framed and constrained by doors, desks and hallways; lights form dramatic patterns; objects are entombed in covers and people are cocooned by their clothing; points of view are skewed at unexpected angles; the verticals and horizontals of cityscapes, and the geometric shapes of seemingly incidental objects take on a powerful, symbolic resonance.</p> <p>In New Work, Chernysheva fuses this visual language to her native city, dramatizing the experience of loss, isolation, and renewal. Moving between empathy and voyeurism, and belief and disillusionment, she appropriates Realism to question what can be known and what can be held as truth. Recalling the strategies of artist Catherine Opie, Chernysheva here forges a critical and yet affective space within a documentary practice that grapples with the relationship between person and place.</p> <p>Chernysheva&#39;s gelatin-silver prints of the Alley of Cosmonauts, the famous avenue of statues dedicated to the heroes of Soviet space travel, wittily capture its deterioration and the seemingly wayward attempts to salvage it. With the commemorative busts tightly wrapped in material as if to protect them from the present, and blocks of stone lying every which way, Chernysheva&#39;s camera passes a lyrical eye upon the Alley&#39;s faded glories and fallen pride. The Monument "To the Conquerors of Space", a modernist needle piercing the sky, seems to vainly struggle against the anarchy below it.</p> <p>Chernysheva&#39;s photographic series, Moscow Area, frames people and objects within tunnels, hallways, counters, facades, and rows of trees and light-poles. Moodily lit yet effusing a sense of impassivity and resignation, her photographs portray a city that seems to have given up it secrets: their noirish lighting, rather than creating mystery, suggests a world of surface and flatness that is paradoxically radiant and atmospheric.</p> <p>Cherneysheva&#39;s video Untitled: Dedicated to Sengai portrays a street vendor selling a child&#39;s erasable sketchpad on a bleak city square. Opening with a close-up of the seller&#39;s face, Chernysheva&#39;s camera reveals a keen self-possession and determination. Demonstrating her product, the seller draws and deletes and then redraws the square, triangle and circle of Sengai&#39;s famous painting Universe with a Zen-like demeanor.</p> <p>From the Deputy is a series of black and white transparencies of a municipal public art project in various stages of decay and erasure. Forlorn and vandalized murals have been overlaid with a stenciled statement from the city chief, announcing his benevolence in commissioning the project. Presenting tensions between social policy and artistic practice, the series memorializes the work of the original artist while questioning whether autonomy is possible.</p> <p>New Work is Chernysheva&#39;s second solo exhibition at Foxy Production.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1192 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 3 - August 1, 2008</div> <div class="exhibition-opening">Opens Thursday, July 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1191"><img border="0" src="http://foxyproduction.com/static/dyn-images/17/17531.jpeg" alt="" height="334" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">LINDSAY BEEBE</span><br /> <span class="caps">MATT BERRIAN</span><br /> <span class="caps">BOBO </span><br /> <span class="caps">BRENT COWLEY</span><br /> <span class="caps">LIZZIE FITCH</span><br /> <span class="caps">JESSE GREENBERG</span><br /> <span class="caps">BARKEV GULESSERIAN</span><br /> <span class="caps">COLT HAUSMAN</span><br /> <span class="caps">MILES HUSTON</span><br /> <span class="caps">BRIAN MCKELLIGOTT</span><br /> <span class="caps">ANNIE PEARLMAN</span><br /> <span class="caps">BEN PHELAN</span><br /> <span class="caps">PIFAS </span><br /> <span class="caps">TED SEFCIK</span></p> <p>Curated by <span class="caps">BOBO </span>(PHIL <span class="caps">COTE, NICK PAYNE, DREW GILLESPIE</span>)</p> <p>For summer 2008, Foxy Production proudly presents <span class="caps">BOBO</span>&#39;s ON 27th, a group exhibition masterminded by performance art band Bobo. A simultaneous video-linked exhibition is being held at their space, Bobo&#39;s on 9th, in the Italian Market area of Philadelphia. The two exhibitions, under the joint title Precious Delights, mark Bobo&#39;s on 9th&#39;s first anniversary. Both shows include works by Lindsay Beebe, Matt Berrian, Brent Cowley, Lizzie Fitch, Jesse Greenberg, Barkev Gulesserian, Colt Hausman, Miles Huston, Brian McKelligott, Annie Pearlman, Ben Phelan, <span class="caps">PIFAS, </span>and Ted Sefcik, many of whom have presented work at Bobo&#39;s on 9th since its inauguration last year. Ryan Trecartin is exhibiting at Bobo&#39;s on 9th only, making a installation for the space&#39;s front window.</p> <p>Bobo&#39;s on 27th includes painting, sculpture, sound, video and publications in a riotous mix of colors, styles and materials. Underscored by interests in figuration, the ready-made, deconstruction and assemblage, the artists are generating bold new methods, ideas and aesthetics. Their works draw influences from the Internet, art history, ecology, and emerging definitions of self and community, among many other sources. Bobo have written: "The appearance of the exhibition could be best described as a germed-up concept car interface, burnt and melting. This aesthetic reinforces our existing attention to the corners of rooms where bits of dead skin rest, where the dust mites reside, but also shows our interest in how the human mind is steadily cracking codes at the base of the natural Internet, allowing us to successfully reconfigure it and our perceptions of what is possible at microbiotic and galactic levels. The earth is evolving into a throbbing brain and Bobo is interested in exposing technology as nature and nature as a fully moldable interface."</p> <p>Bobo have created artworks, design features and framing devices to push the boundaries and expectations of the role of gallery, curator, artist, and viewer. Their designs are both sectional: membranal wall sculptures and oversized frames made from steel-wool surround works, and environmental: the floor of the gallery is covered in burlap (in reference to the floor designs for previous Bobo shows) and littered with trash-like artworks; the walls are covered in "advertisements" for different pieces in the exhibition; and a specially constructed jukebox plays curated music and sound.</p> <p><span class="caps">BOBO </span>- Phil Cote (Essex Junction <span class="caps">VT,</span> 1983), Drew Gillespie (Kansas City <span class="caps">MO,</span> 1982), and Nick Payne (Toronto, Canada, 1982) - started their band, artists&#39; group and project space in 2007. For more information on Bobo and Bobo&#39;s on 9th see: <a href="http://www.boboson9th.com">boboson9th.com</a> Their music can be heard at: <a href="http://www.myspace.com/bobophiladelphia">myspace.com/bobophiladelphia</a></p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1191 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 15 - June 20, 2008</div> <div class="exhibition-opening">Opens Thursday, May 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1188"><img border="0" src="http://foxyproduction.com/static/dyn-images/16/16140.jpeg" alt="" height="385" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">SALVATORE ARANCIO</span><br /> <span class="caps">ANDERS CLAUSEN</span><br /> <span class="caps">DICK EVANS</span><br /> <span class="caps">VALIE EXPORT</span><br /> <span class="caps">SIMONE GILGES</span><br /> <span class="caps">LARS LAUMANN</span><br /> <span class="caps">NEDKO SOLAKOV</span></p> <p>Curated by <span class="caps">DICK EVANS.</span></p> <p>Foxy Production presents <span class="caps">NUL, </span>a group exhibition curated by London-based artist Dick Evans. Nul brings together seven European artists, including Evans, Salvatore Arancio, Anders Clausen, <span class="caps">VALIE EXPORT,</span> Simone Gilges, Lars Laumann, and Nedko Solakov, whose work relates in differing ways to loss, reduction or vacancy. Combined, the works in Nul produce an uncanny sense of dissolution.</p> <p>Salvatore Arancio&#39;s photo etchings depict bizarre natural phenomena in strange ancient landscapes. Collages of the old and new, they trade on the aesthetic pleasures of visual histories. They embody a fantasy of Gothic nothingness that is underscored by a surreal desire.</p> <p>Anders Clausen&#39;s sculptural heads on wooden pedestals elicit a curious familiarity, with their combination of the allegorical and the historical. His zombie-like figures have reduced their art historical references - to Jacob Epstein, Ben Nicholson, and Dieter Roth - to a humorous yet subtle amalgam.</p> <p>Dick Evans&#39; Plexiglas boxes - titled by their dimensions - consider the possibility of absolute zero. These almost empty vitrines contain remnants of works that have been abandoned by the artist, left to gather dust in a corner of his studio for a year. Hygiene products, wax, candles and dust produce landscapes of comic emptiness that are at once a portrait, an environmental calendar, and an image in negative of his studio.</p> <p><span class="caps">VALIE EXPORT</span>&#39;s sculpture Dead People Don&#39;t Scream pointedly references an existential interpretation of nothingness, visualizing the experience of an emotion so extreme that a face becomes a terrifying vacuum. Her photographic series, untitled, presents stony figures intertwined with angular architectural structures, creating a dynamic tension between the construction of identity and its dissolution.</p> <p>Simone Gilges produces very particular and concise arrangements of photographs and objects. For Nul, Gilges places re-photographed images, fabrics, and found objects in enigmatic relationships with one another. She presents a constellation that is mysterious, monstrous, conjured and ethereal. The work&#39;s elements coalesce in a psychological scene of both curiosity and closure.</p> <p>Lars Laumann&#39;s Hatful of Cocteau is a screen-print of an article from an issue of La Liberation devoted posthumously to Jean Cocteau. It includes an image of a man with an illustration from the artist&#39;s publication Le Livre Blanc tattooed on his shoulder; the same image was also used on Morrissey&#39;s Hatful of Hollow album cover. Laumann&#39;s work focuses on how images and objects can act as both romantic connectors and empty ciphers.</p> <p>Nedko Solakov&#39;s Personal Parts drawings combine body parts with poetic writing about them, engendering strange insights into the human body as a whole. Simultaneously comedic, macabre and enlightening, they are dark fables about people reduced to their elements.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1188 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 23 - May 9, 2008</div> <div class="exhibition-opening">Opens Saturday, February 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1186"><img border="0" src="http://foxyproduction.com/static/dyn-images/14/14299.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">FIONA BANNER</span><br /> <span class="caps">JAMES LEE BYARS</span><br /> <span class="caps">GERARD BYRNE</span><br /> <span class="caps">AMY GRANAT</span><br /> <span class="caps">JACQUELINE HUMPHRIES</span><br /> <span class="caps">GUILLAUME LEBLON</span><br /> <span class="caps">GYAN PANCHAL</span><br /> <span class="caps">MITZI PEDERSON</span><br /> <span class="caps">FALKE PISANO</span><br /> <span class="caps">ADAM PUTNAM</span></p> <p>Curated by <span class="caps">BILL COURNOYER.</span></p> <p>Foxy Production presents <span class="caps">POWER, </span>a group exhibition where light is the common focus: electric light, black light, reflecting light, the sound of light, light sources. Drawing together a disparate group of artists, the exhibition holds a range of conceptual experimentations, ideas and practices under the spotlight.</p> <p>Fiona Banner&#39;s illuminated drawing, Nude Standing, exemplifies her explorations of the possibilities of language in art. The work engages with the history of painting, offering a wry critique of the male gaze and the female object. Her use of neon announces a bold statement on a conventional subject.</p> <p>Falke Pisano&#39;s photographic triptych, Rhythm in Space with Diamonds, brings to mind the words of Marcel Broodthaers: "Words in statues shine like diamonds." On a table lies a book with photographs of modern sculptures: As one gazes through a prismatic diamond down onto the sculpture Rhythme dans l`espace by Max Bill, one finds a chaotic interior.</p> <p>Gerard Byrnes&#39; photograph, A country road. A tree. Evening., portrays a landscape of unnatural circumstance. Springing from an interpretation of Beckett&#39;s stage directions for Waiting for Godot, this uncanny work shines multiple stage lights of deep color onto a lonely countryside at night.</p> <p>Adam Putnam&#39;s magic lantern, Untitled (Blue Light), engages a corner of the gallery, making an argument for his idea that "the erotic rests not in the depiction of bodies but in the depiction of space." His use of light allows him to envelop the area in his desire to become one with the void.</p> <p>Jacqueline Humphries&#39; black light paintings realize the idea of painting as a source of light: they literally radiate <span class="caps">U.V. </span>light. Her ingenious choice of medium transforms the gallery space, covering the viewer in a luminescent glow. The works, by displaying their inner workings and creating an immersive effect, both deconstruct and re-energize the viewer&#39;s experience of painting.</p> <p>Amy Granat&#39;s film, Chemical Scratch, was created by her literal assault on film material. The resulting abstract images produce a galactic-like experience of light and space, while the audio of her "damage" captures the "sound of light." Her physical interventions demonstrate the centrality of material transformation in her work, and its oscillation between construction and destruction. </p> <p>Mitzi Pederson&#39;s sculptures are made of commercially produced and easily accessible materials that are transformed into new and unfamiliar shapes. They act as agents of light, absorbing their environment while simultaneously grabbing the viewer&#39;s attention. In Hello Again, the metamorphic interactions of light with the work produce surprising inflections and perspectives.</p> <p>Gyan Panchal, like Pederson, uses industrial everyday materials, but his choices take on very different meanings. His works are inspired by an archaeology of abstract objects: the exploration of the origin of objects and of the relevance of abstraction today. In Gaern, the surface reflects light with a shiny vibrancy, while its frayed edges suggest decay. In Splei, Panchal uses primitive materials and markings that bring the work to the border of representation and abstraction.</p> <p>Guillaume Leblon&#39;s gouaches, "Les Succulentes", present plant varieties that can survive extreme temperatures and harsh light. Ironically, these images are designed to fade in the light: they are made with un-fast ink. Leblon&#39;s complex and nuanced work formulates striking visual binaries as if it is in dialog with itself.</p> <p>James Lee Byars&#39; Slit Moon is a crescent shaped sculpture that resembles what astronomers call earthshine: "The reflection of light from the sunlit side of the earth unto the otherwise dark side of the moon." Made of Greek marble, it underscores his abiding concerns with contrast, with life and death, with the ephemeral and the enduring.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1186 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 10 - February 16, 2008</div> <div class="exhibition-opening">Opens Thursday, January 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1071"><img border="0" src="http://foxyproduction.com/static/dyn-images/13/13216.jpeg" alt="" height="334" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Bouncing Lights Forever, <span class="caps">MICHAEL BELL</span>-SMITH&#39;s second solo exhibition at Foxy Production, comprises a series of screen-based works that simultaneously establish and dissolve the sense of a digital sublime. Opposing features - flatness and limitless perspective, color and monochromy, motion and stasis, repetition and singularity - coalesce in visual fields that question the image&#39;s hold on truth. Bell-Smith&#39;s new work is very much concerned with contemporary image production, yet it recalls Romanticism&#39;s transcendent landscapes and early Modernism&#39;s struggles with form and content.</p> <p>Glitter Bend is a digital animation, depicting a cityscape at night, stretched across an arcing horizon, as if viewed from above the earth. The work minimizes landforms and features, leaving a stark, almost symbolic configuration of line, color and motion. Each twinkling light is a "handmade" GIF - a small motion file found everywhere on the Internet - that has been distributed using algorithms that fragment any electronic uniformity. Building Across From Glitter Bend, the reflection of Glitter Bend on the surface of a glass tower, is likewise a combination of still and moving elements that creates a compelling yet refracted whole. The grid of windows imposes a frame on the work that denaturalizes and abstracts one&#39;s grasp of a recognizable landscape, while never completely overpowering the vista&#39;s beauty. The two works together, placed one across from the other in the exhibition, produce an environment that is at once immersive and disorienting.</p> <p>Lighting Affects 1-3 is an animated triptych of light in motion. Depictions of light forms - lasers, fireworks, spotlights, lightning, and streetlamps - are redrawn from TV cartoons and then rendered by hand, frame-by-frame using drawing software, to produce composite moving images. These boldly dynamic elements never develop into a figurative or narrative whole, leaving the viewer in a kind of ontological limbo. In a similar sense, Starfields 1 and 2, a pair of four-screen works that play with the representation of movement through space, detach conventions from their original referents. A vortex-like action - with no destination in sight - is rendered with differing speeds, directions, effects and colors. In both works, Bell-Smith cannily undermines representational traditions, while investing in the visual pleasure they provide.</p> <p>Moving, Endless (Samples) is a series of still color gradations presented on digital screens. Not unlike an electronic Color Field painting, each work displays subtle but emotionally evocative shifts of color. They all incorporate pixelation - the patterning that lies beneath the surface of a digital image - as if subliminally revealing the inner-workings of the construction of an abstract sublime.</p> <p><strong><span class="caps">MICHAEL BELL</span>-SMITH <span class="caps">TALK </span>+ <span class="caps">SCREENING</span>: <span class="caps">FEBRUARY</span> 6, 6:30 PM</strong></p> <p>Electronic Arts Intermix (EAI), New York, presents an artist&#39;s talk and screening on Wednesday, February 6, 6:30 pm.</p> <p>Founded in 1971, <span class="caps">EAI </span>is the world&#39;s leading resource for video art and interactive media. <span class="caps">EAI</span>&#39;s core program is the international distribution of a major collection of new and historical media works by artists. <span class="caps">EAI</span>&#39;s activities include a preservation program, viewing access, educational services, online resources, and public programs such as exhibitions and lectures.</p> <p><span class="caps">ELECTRONIC ARTS INTERMIX </span>(EAI)<br /> 535 <span class="caps">WEST</span> 22 <span class="caps">ST.</span> 5TH <span class="caps">FLOOR</span><br /> <span class="caps">NEW YORK</span> NY 10011<br /> t: 212 337 0680<br /> f: 212 3370679<br /> <a href="http://www.eai.org/eai/01_08_mbs_pr.html">www.eai.org</a><br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/1071 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 11 - December 15, 2007</div> <div class="exhibition-opening">Opens Thursday, October 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/972"><img border="0" src="http://foxyproduction.com/static/dyn-images/10/10394.jpeg" alt="" height="386" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Year of The Pig Sty, <span class="caps">HANY ARMANIOUS</span>&#39; inaugural New York exhibition. In Armanious&#39; provocative work, perverse actions take place upon unexpected materials, resulting in enigmatic objects, scenes and associations. Like a pranksterish alchemist, he transforms the process of casting into a witty and symbolic practice. His detours and digressions through the fictional systems he constructs, paradoxically foster both confusion and engagement.<br /> <br /> Year of The Pig Sty is an installation with an internal logic that seems more elusive the longer the work is contemplated. The viewer is greeted with a shocking vista of filth and disarray: on closer inspection, the work resembles a wayward workshop, where strange organic objects are crafted from mud. A desperate struggle seems to have taken place to keep an outmoded artisanal practice going.<br /> <br /> The installation is a site where intense and delirious actions have taken place, where motives remain mysterious, and odd linguistic connections are forged. Recalling Beuys&#39; interplays between textures and history, Year of The Pig Sty inventively interweaves materials and allegory; but unlike Beuys&#39; work, the associations here are inconclusive, provisional, and likely to be misleading.<br /> <br /> How various parts of the installation relate to one another can be alternately elementary or elusive. Crocs, the lightweight therapeutic footwear made through injection casting, figure centrally in the work: in one area, a chaotic collection of Crocs, shoe molds, molded bacon, shoeboxes, socks, among other elements, poetically and humorously conflates therapy, consumerism, and failure. An oversized Styrofoam box, hand-carved and containing mud and oversized truffles made from soil and resin, is surrounded by muddy Croc footprints. A trough constructed from form-ply is filled with mud, as if waiting for pigs to return. Resembling an alien pod, a white Styrofoam box is fused with the sole of a Birkenstock and cast in resin. A doormat with hollows is used to mold circular bricks through the action of the muddy Crocs being wiped on it. The bricks are dried under a snooker table light with hydroponic grow lamps that resembles a descending spacecraft. The same bricks are braced together to form pottery pool cues; apparently the end-product of this wayward production line.<br /> <br /> The installation represents perhaps an artist&#39;s studio in throes of fervid activity. Messy, unformed, embryonic objects are in the process of objecthood, as if we are witnesses to the primal scene of creativity. Or has the habitat of the artist been terminally disturbed, the scene contaminated, the project abandoned?<br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/972 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 6 - October 6, 2007</div> <div class="exhibition-opening">Opens Thursday, September 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/971"><img border="0" src="http://foxyproduction.com/static/dyn-images/9/9765.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents "13 Ways Forever Expanding Compartments" by <span class="caps">YUH</span>-SHIOH <span class="caps">WONG, </span>a solo exhibition of new sculptural and painterly assemblages. Wong has produced a striking environment of contrasting figures, colors, materials, shapes and shadows. In the tradition of Franz West or Isa Genzken, she makes highly inventive connections between widely disparate elements in order to investigate the drive to create ideal forms. "13 Ways" highlights how the experimental nature of her practice - her playful mixing and matching of found and improvised elements - relates to the rich conceptual base of her ideas about impermanence, perception and visibility. <br /> <br /> The exhibition comprises a series of intricate sculptural works that juxtapose found objects with carved structures, and acrylic and oil paintings, some of which are placed on mirrored shelves.Wong&#39;s objects incorporate oil, burlap, Styrofoam, plaster,wood, seeds and copper, among other materials, in paradoxically studied yet improvisational ways. Her paintings, with their surprising association of forms: angular shapes jostling with flowing ribbons, bubbles, or the organic lines of twigs, evoke figures or scenes without completely defining them. <br /> <br /> Wong consistently suggests narratives that are never fully revealed or resolved with the intent of investigating the limits of visual recollection and representation. Bowerbirds (Flying Casanovas) is a birdhouse-like construction with a periscopic view that reveals a wooden bird within a fabric lined interior, while Ceiling to Sky (X-tra Blue) is a long staircase in miniature, fashioned from Styrofoam, stucco and ribbon. Both works have a dynamic theatrical resonance: they seem to allude to scenarios or events that may have just happened, or are just about to happen. <br /> <br /> Many of the works create holistic, expressive micro-environments that engage with an expanded sense of the natural world. The floor-based Lens Plant, an assemblage of a painting frame, potting mix, a lighted plastic orb, a rolled up drawing, and a flower-like construction with a lens at its center, seems - despite the heterogeneity of its ingredients - to be a portal to a secret inner universe. <br /> <br /> Wong&#39;s uncanny incorporations of unexpected elements seem to mine the subconscious for inspiration. She dramatizes materials through her treatment and placement of them. Textures and forms reverberate with lyrical power despite a deliberate economy of means. Candle-Holder Live-Forever, an acrylic painting resting on a mirrored shelf along with a single acorn, has ambiguous and unsettlingly visceral cross-sections of embryonic flora twirling out in different directions. The collage, Always Been Transitory and Corruptible, comprising acrylic paint and metal foil, hints at but never defines figures, sketching a non-linear narrative that tries to make sense of the forgotten, the unseen, or the unknown.<br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/971 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 12 - August 10, 2007</div> <div class="exhibition-opening">Opens Thursday, July 12, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/869"><img border="0" src="http://foxyproduction.com/static/dyn-images/8/8647.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">MICHAEL BELL</span>-SMITH<br /> <span class="caps">OLGA CHERNYSHEVA</span><br /> <span class="caps">TONY LABAT</span><br /> <span class="caps">TAKESHI MURATA</span><br /> <span class="caps">SIEBREN VERSTEEG</span></p> <p>Foxy Production presents <span class="caps">SOLAR SET, </span>a group exhibition featuring works by Michael Bell-Smith, Olga Chernysheva, Tony Labat, Takeshi Murata, and Siebren Versteeg. Solar Set refers to a box work by Joseph Cornell from 1958, where the artist collected and arranged solar statistics, spherical objects, and images of the sun, among other elements, to create an idiosyncratic universe in miniature. The exhibition explores the ways in which images, objects or events are collected and reconfigured within conceptually rich and critically resonant visual systems. Using diverse means, the works take popular cultural forms as their starting point to forge imaginative connections, evocative images, and unexpected metaphors.</p> <p>Michael Bell-Smith mixes original and appropriated imagery to produce iconographic, conceptual videos, installations, and prints. For Solar Set, he presents digitally rendered line tracings from the film Tron (1982), known for its break-through blend of live action and computer generated imagery. Depicting a cityscape, cyberspace, and workplace cubicles, he investigates the representation of space and perspective through a reinterpretation of virtual locations.</p> <p>Olga Chernysheva&#39;s films and photographs wryly scrutinize the post-Soviet experience. Her video March (2005) observes the pomp and absurdity of a military style celebration that includes boy guards, cheerleading pom-pom girls, and assorted local dignitaries in a searing and at times hilarious expos&eacute; of the ornamentation of power. It is Chernysheva&#39;s almost seamless mediation of the events recorded that gives the work its subversive power.</p> <p>Tony Labat&#39;s diverse practice, including video, painting, installation, sculpture and performance, repurposes cultural artifacts to produce provocative statements about contemporary experience. His Frankenstein Series (2007) comprises digital prints on canvas of earlier works that were constructed from found photographs. His remastered images of a Sikh Elvis, a comical Karl Marx, and an Yves Klein model, with their layering of appropriation upon appropriation, astutely examine the process of image production.</p> <p>Takeshi Murata&#39;s videos push definitions of figuration and abstraction to the limits. Using the digital pixel as his building block, he dissolves and re-constructs found film footage to produce compelling, almost sculptural moving images. His Untitled (Pink Dot) (2007) reconfigures ultra-violent action movie footage: at times he seems to aestheticize the violence with rhapsodic flowing fluorescent colors, while at others he creates a deep sense of foreboding with dark, leaden movements and a convulsive, blinking pink dot.</p> <p>Siebren Versteeg explores visual processes: he reprograms popular software, corporate design, and internet functionality with dynamic, often intricate results. For Solar Set, he has produced a site-specific wall montage of images randomly downloaded from Flicker, the online photo-library. This digital collage is itself constructed from hundreds of small photographs assembled like a huge jigsaw puzzle. He also presents a series of black and white prints, generated from the results of a Google image search of the word "Satan" that have been fed into a drawing program.</p> <p><span class="caps">MICHAEL BELL</span>-SMITH (East Corinth, <span class="caps">ME,</span> 1978) lives and works in Philadelphia. He holds a BA in Semiotics from Brown University, Providence, <span class="caps">RI.</span> Selected exhibitions include: Hirshhorn Museum, DC (2008); Krannert Art Museum - University of Illinois, IL (2008); MoMA, New York (screening) (2007); Roslyn Oxley9 Gallery, Sydney (solo) (2007); <span class="caps">LISTE,</span> Basel, Switzerland (solo) (2007); Galeri <span class="caps">F15,</span> Moss, Norway (2007); Threshold Artspace, Perth, Scotland (2007); Dallas Center for Contemporary Art, TX (2007); The Museum of Fine Arts in Lausanne, Switzerland (screening) (2006); And/Or Gallery, Dallas, TX (two person) (2006); Vilma Gold, London (2006); Foxy Production, New York (solo) (2006); BankART, Yokohama, Japan (2006); RX Gallery, San Francisco, CA (2006); Glassbox, Paris (2006); <span class="caps">PROJEKT</span> 0047, Berlin (2005); Tate Liverpool, Liverpool, UK (2005).</p> <p><span class="caps">OLGA CHERNYSHEVA </span>(Moscow, 1962) lives and works in Moscow. She holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam. Selected exhibitions include: Galerie Catherine Bastide, Brussels (solo) (2007); Foxy Production, New York (solo) (2007); Moscow Biennale for Contemporary Art (2007); Stella Art Gallery/Foundation, Moscow (solo) (2006 &amp; 2005); Biennale of Sydney (2006); Museum Folkwang, Essen, and Hamburger Kunsthalle, Hamburg (2006); Salzburger Kunstverein, Salzburg (2006); Moscow Multimedia Center for Contemporary Arts, Moscow (solo) (2005); White Space Gallery, London (solo) (2005); Solomon R Guggenheim Museum, New York (2005); The State Russian Museum, Saint-Petersburg, Russia (solo) (2004); State Historical Museum, Moscow (2004); National Museum of Contemporary Art, Oslo (2004); Museum of Contemporary Art, Zagreb (2004); Russian Pavilion, 49th International Art Exhibition, Venice Biennale (2001); Kunstlerhaus Vienna, Austria (2001).</p> <p><span class="caps">TONY LABAT </span>(Havana, Cuba, 1951) lives and works in San Francisco. He received both a <span class="caps">B.F.A. </span>and an <span class="caps">M.F.A. </span>from the San Francisco Art Institute. His works are in the permanent collections of the Centre Georges Pompidou, Paris; Kunstmuseum, Bern; Stedelijk Museum, Amsterdam; and the Long Beach Museum of Art, California. Recent exhibitions include: Harris Lieberman, New york (2007); International Biennial of Contemporary Art of Seville, Spain, curated by Okwui Enwezor (2006-07); New Langton Arts in San Francisco (2005). He has also exhibited at MoCA, Los Angeles; MoMA, New York; and <span class="caps">SFMOMA,</span> San Francisco.</p> <p><span class="caps">TAKESHI MURATA </span>(Chicago, 1974) lives and works in upstate New York. He graduated from the Rhode Island School of Design in 1997 with a <span class="caps">B.F.A.</span> Murata&#39;s work has screened at MoMA, New York (2007), and he has exhibited at Gallery Sora, Tokyo (solo) (2007); The Reliance, London (solo) (2007); Hirshhorn Museum, Washington DC (2007); Ratio 3, San Francisco (solo) (2006); Gladstone Gallery, New York (2006); Yerba Buena Center for the Arts, San Francisco (2006); Vilma Gold, London (2006); Taka Ishii Gallery, Tokyo (2006); Smack Mellon, Brooklyn (2005), Deitch Projects, New York (2005); Peres Projects, Los Angeles (2004); Gavin Brown&#39;s Enterprise, New York (2004); <span class="caps">FACT</span> Centre, Liverpool, UK (2004); the Contemporary Arts Center, Cincinnati (2004).</p> <p><span class="caps">SIEBREN VERSTEEG </span>(New Haven, <span class="caps">CT,</span> 1971) lives and works in New York City. He holds a <span class="caps">BFA </span>from the School of the Art Institute, Chicago (1996); and an <span class="caps">MFA </span>from the University of Illinois at Chicago (2004). Solo projects and exhibitions include: Nothing Was, Max Protetch, New York, NY (2007); Untitled Film <span class="caps">II,</span> Bellwether, New York, NY (2006); determination, Rhona Hoffman Gallery, Chicago, IL (2005); Siebren Versteeg, University Galleries Normal, IL (2005); Ulrich Museum of Art History and Being Here, Wichita, KS (2004); CC and Dynamic Ribbon Device, Wexner Center for the Arts, Columbus, OH (2004); 12&#215;12, Museum of Contemporary Art, Chicago, IL (2003); <span class="caps">CC,</span> Ten In One Gallery, New York, <span class="caps">NY, </span>(2003).</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/869 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 31 - July 6, 2007</div> <div class="exhibition-opening">Opens Thursday, May 31, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/865"><img border="0" src="http://foxyproduction.com/static/dyn-images/8/8181.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DAVID NOONAN</span>&#39;s latest solo exhibition at Foxy Production pits image against image in an evocative and at times unnerving meditation on the resonance of material and representation. Through the lens of found photographs, Noonan dissolves, repeats, and resituates images to explore memory, nostalgia, and association. The exhibition, comprising large multi-panel silkscreen canvases, a flat-planed wooden sculpture with silkscreened canvas, and a series of collaged paper works, intrigues and disquiets with its complex convergence of the mythic and the real. <br /> <br /> His multi-panel silkscreens intensely overlap images to create dreamlike scenes where narrative or formal meanings are illusive. They include geometric patterning, striped overlays, or diagonal thrusting arms that abstract and complicate the overall tableaux. By presenting the most stylized of images unanchored from their original context, he explores the workings of remembrance, connotation, and sentiment. He confronts nostalgia for the real, not through didactic deconstruction, but rather through the pleasure and pain of the imaginary: his highly mediated images reverberate with undetermined narratives that excite, disquiet, or charm.<br /> <br /> His sculptural piece, made from seven carved panels of wood and resting upon a woven seagrass mat, resembles an unfinished theatre set, depicting actors rather than a scene. Positioned like a Japanese screen, it has two characters: a woman repeated on five slats and a man on two. Both seem drawn from a long forgotten experimental drama: they have striped monochromatic costumes with corresponding high contrast make-up. While playing with recognition and fiction, the work&#39;s conflation of 2D and 3D and its fusion of the dramatic with the sculptural highlights the theatrical presence of Modernist sculpture and contemporary installation.<br /> <br /> Noonan&#39;s black and white collages place images of actors, engaged in robust, stylized performances and adorned in revealing experimental costumes, upon jarring backgrounds of avant-garde theater spaces. There is a vexing disjunction between performer and scene: mismatched figures and backgrounds disrupt the viewer&#39;s sense of scale and thwart their impulse to create narrative. Connecting to subterranean thoughts and feelings, beneath the layers of self-definition, Noonan elucidates the expressive power of the reconfigured, rerigged and repositioned.<br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/865 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 27 - May 26, 2007</div> <div class="exhibition-opening">Opens Friday, April 27, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/771"><img border="0" src="http://foxyproduction.com/static/dyn-images/21/21023.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Superoverpass by <span class="caps">STERLING RUBY, </span>an exhibition of provocative investigations of form, expression, and transience. Featuring a monumental architectural work in the main gallery and a salon of prints and collages in the back space, Superoverpass furthers Ruby&#39;s visceral deconstructions and reconstructions of dominant forms and systems. He subjects the institutionalization of the Modernist project to a form of assault through bodily gestures and semantic scramblings, destabilizing the idea of transcendence via abstraction.</p> <p>Superoverpass (2007) is a white geometric bridge-shaped sculptural work that fills the entire main space of the gallery: viewers are forced to walk under and through it. At first recalling a Robert Morris Minimalist sculpture, on closer inspection the work loses its perfectionist sheen and its claim to purity: its Formica surface is defaced and degraded with scratch graffiti and grime. Confounding expectations, it presents a Minimalist form contaminated by the collective expression of etched "tags," and the stains of wear, tear, and time.</p> <p>But rather than romanticizing the expressive, Ruby taps the collective anguish and emotion embedded within and regulated by systems of meaning and control. His Anti Prints (2007), a series of fluorescent Letterpress prints, read like protest signs gone awry. With perplexing phrases and images, they combine many of Ruby&#39;s most powerful motifs: drips, kilns, and spray graffiti. In parts cryptic, raw, architectonic, sexual, and nebulous, they wryly attack Minimalism, geometry and architecture, proposing a self-styled "amorphous law."</p> <p>Ruby&#39;s series of collages, with titles including Bandanas, Blood and Crips, Cal State Prison, and Gangs, refers to group articulations and structures that controvert legal and moral boundaries. Incorporating elements such as prison cells, gray rectangular blocks, patches of patterning, found images of transsexuals, and overlays of disturbing blood-like smears, they create a stirring vortex of signs underpinned by a threatening sense of disquiet.<br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/771 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 30 - April 21, 2007</div> <br/> <a href="/exhibition/view/770"><img border="0" src="http://foxyproduction.com/static/dyn-images/7/7411.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Isle of Sparks is Moscow-based <span class="caps">OLGA CHERNYSHEVA</span>&#39;s inaugural New York solo exhibition. Chernysheva uses a range of media to produce expressive, penetrating artworks that take contemporary Russian experience as their theme. Her often unwitting subjects are observed negotiating a society in turbulence, where a common sense of a shared future has disintegrated. Her films and photographs transcend their documentary function to lyrically investigate the very fabric of individuality and self-sufficiency, and to expansively meditate on the role of the artist in a time of flux.</p> <p>The exhibition, comprising videos and selections from a number of photographic series, presents a broad range of work produced by Chernysheva in recent years. The Train (2003) is a remarkable video journey through the carriages of a Russian intercity train that recalls the early Realist cinema of Vertov. The stoic passengers and staff seem largely oblivious to the camera-person passing by them, walking toward the back of the train. The video is both an affecting window on contemporary Russia and a shrewd re-working of conventional film-making: the movement through the train and the encounters with different individuals mimic dramatic narrative structure.</p> <p>On Duty (2007) is a group of large black and white photographic portraits on matte paper of uniformed functionaries, who spend their time watching or, perhaps more to the point, solemnly doing nothing. Rather than merely satirizing them and their roles, Chernysheva is interested in capturing their ambivalent and ambiguous gazes.</p> <p>Waiting for the Miracle (2000) is a startling set of photographs of women&#39;s woolen hats taken from behind. Appearing like sea anemones or alien life-forms, these mundane objects are transformed into wondrous beings. As Chernysheva writes, "Usual, familiar images become mysterious and magnetic"; here the prosaic becomes magical.</p> <p>The Anabiosis (2000) photographic series documents people and plants completely wrapped up so they can survive outside in the depths of winter. Ice fishermen, covered totally in plastic to lock out the perilous cold, resemble frozen shrouds or incubators of pod-people. These initially disturbing images have a stark yet expressive quality that stylizes the human form.</p> <p>Windows (2007) is a multi-channel video work, comprising a series of screens of people videotaped through their apartment windows. We voyeuristically and compulsively watch as the inhabitants, oblivious to the camera observing them, iron underwear, argue, party, or feed their cats. These mini-dramas of everyday life, at times resembling soap opera, disturb our notions of how reality should "really" look.</p> <p>Anonymous (2004) is a two channel video work that captures two people outdoors in summertime. In Part I a middle-aged woman changes into her bathing suit in a crowded park to the voice-over of a instructor guiding women in sexual self-massage. In Part II a partly obscured, very drunken man attempts a life and death struggle to open a bottle of vodka. In both videos passersby seem largely oblivious to the main character, even though they are publicly exposing themselves in their different ways. Both videos end with an extreme zoom back, putting into perspective the microscopic size of the slice of life being witnessed.<br /> ---</p> <p>Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/770 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 25 - March 24, 2007</div> <div class="exhibition-opening">Opens Sunday, February 25, 12:00 PM - 3:00 PM</div> <br/> <a href="/exhibition/view/769"><img border="0" src="http://foxyproduction.com/static/dyn-images/6/6684.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">HANY ARMANIOUS</span><br /> <span class="caps">MATTHIAS BITZER</span><br /> <span class="caps">LOUISA MINKIN</span><br /> <span class="caps">ULLA VON BRANDENBURG</span></p> <p>Foxy Production presents <span class="caps">SURFACE WAVE, </span>a group exhibition of works by Hany Armanious, Matthias Bitzer, Ulla von Brandenburg and Louisa Minkin that taps into the tensions that lie just beneath the surface of textures, materials and forms. The exhibition explores the pressures that can erupt between abutting constructs, within the faultlines of abstraction, and in the straining for narrative. <br /> <br /> Sydney-based Hany Armanious produces installations and sculptural forms, as well as paintings and drawings. He consistently surprises with his deft working and reworking of objects, materials, and references in order to remodel the everyday in uncannily lyrical ways. In Surface Wave he presents a urethane cast of a piece of polystyrene that he found leaning against a security fence. The indentations on the polystyrene from the fence are clearly visible, creating a sculptural piece removed from yet directly revealing its source. Armanious also presents a series of wall rubbings, pieces of sandpaper with impressions from wall surfaces that resemble vistas of far-off solar galaxies.<br /> <br /> Karlsruhe-based Matthias Bitzer&#39;s paintings and drawings mix the abstract and the figurative, employing an aesthetic vocabulary that draws from the formal repertoires both of art-history and everyday culture. In Surface Wave, Bitzer presents a painting on raw canvas that combines geometric patterning with portraiture; a drawing on wood of ghostly ectoplasm (the spectral emanations from a medium during a s&eacute;ance) that ties the non-figurative directly to a narrative scene; and a lacquer on glass piece comprising a maze-like grid and series of letters that recalls Conceptual Art&#39;s critique of the image.</p> <p>London-based Louisa Minkin&#39;s work is concerned with the interface between painting and text, and between object and movement. She explores the inflection of historic and contemporary technologies upon painting practice, and how surfaces reveal their history through correlation, connection and leakage. In Surface Wave she presents a video of a painting in a museum, the only movement being the reflection on the painting of the shadows of viewers; a telescope rendered in walnut; a seemingly abstract black-and white print on metal that on closer inspection reveals the silhouettes of countless figures; and an abstract painting in muted tones that hints at organic forms.</p> <p>Hamburg-based Ulla von Brandenburg works in a variety of forms, including drawing, painting, film, video, installation and performance. She examines the ways in which meaning and significance can be articulated between the borders of media. In Surface Wave she presents the video Mi-Careme (2005), almost a tableau vivant where the only movement is a masked actor swaying in front of a still audience. Falling between action and stasis, the video sustains considerable tension in the way it suggests many possible narratives without allowing any to be be fully articulated.<br /> <br /> Made possible with Art Concept, Paris; Iris Kadel, Karlsruhe; Roslyn Oxley9, Sydney; and Michael Lett, Auckland.</p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/769 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 11 - February 17, 2007</div> <div class="exhibition-opening">Opens Thursday, January 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/659"><img border="0" src="http://foxyproduction.com/static/dyn-images/6/6014.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>C5<br /> <span class="caps">FUTUREFARMERS</span><br /> <span class="caps">SHIH CHIEH HUANG</span><br /> <span class="caps">PHILIP ROSS</span><br /> <span class="caps">STEPHEN VITIELLO</span><br /> <span class="caps">GAIL WIGHT</span></p> <p>Organized by <span class="caps">RHIZOME, </span>affiliated with the New Museum of Contemporary Art</p> <p>Foxy Production presents <span class="caps">NETWORKED NATURE, </span>a group exhibition that inventively explores the representation of "nature" through the perspective of networked culture. The exhibition includes works by <span class="caps">C5,</span> FutureFarmers, Shih-Chieh Huang, Philip Ross,Stephen Vitiello, and Gail Wight, who provocatively combine art and politics with innovative technology, such as global positioning systems (GPS), robotics, and hydroponic environments.</p> <p>In their work Perfect View, San Jose-based collective C5 reached out to the subculture of recreational <span class="caps">GPS </span>users, or geo-cachers, asking them for their recommendations of "sublime locales." The submitted latitudes and longitudes provided the guide points for a thirty-three state, thirteen-thousand mile motorcycle expedition by collective member Jack Toolin, who photographed the terrain at the given coordinates. The results, presented in triptychs, smartly subvert traditional representations of landscape and notions of the sublime. </p> <p>San Francisco-based collective FutureFarmers&#39; Photosynthesis Robot is a three-dimensional model of a possible perpetual motion machine driven by phototropism - the movement of plants towards the direction of the sun. Their proposal that a group plants will very slowly propel a four wheel vehicle is a witty take on the pressing search for new forms of energy. </p> <p>New York artist Shih-Chieh Huang&#39;s inflatable installation, EX-S-S-TW, is inspired by everyday household electronic devices and his studies of physical computing and robotics. In this ingenious exploration of organic systems, he creates a dynamic circulation of electricity and air: a living micro-environment. </p> <p>San Francisco-based Philip Ross&#39; Juniors are self-contained survival capsules for living plants. Blown glass enclosures provide a controlled hydroponic environment, where plants&#39; roots are submerged in nutrient-infused water, while <span class="caps">LED </span>lights supply the necessary illumination. The artist has drawn on two culturally divergent traditions - Chinese scholars&#39; objects and Victorian glass conservatories - that share the belief that nature is best understood when seen through the lens of human artifice. </p> <p>Virginia-based artist Stephen Vitiello&#39;s Hedera (BBB) unsettles our assumptions of what an appropriate soundtrack might be. The artist has constructed a sprawling vine installation with speakers hidden between the branches that quietly broadcast percussive sounds woven from the speeches and private conversations of George W. Bush and Tony Blair. </p> <p>Creep, by Oakland-based Gail Wight, is an hypnotic three screen time-lapse video of the growth of dyed slime mold. Separately edited sequences play alongside each other, cycling through a sequence of fluorescent color shifts. In her aestheticizing of the normally repellent, Wight creates an ode to the beauty of natural growth patterns. </p> <p>Networked Nature will run in conjunction with the College Art Association&#39;s annual conference in New York, February 14-17, 2007. A reception for <span class="caps">CAA </span>will be held on Friday February 16th at Foxy Production. <a href="http://www.collegeart.org/">www.collegeart.org</a></p> <p>Networked Nature is organized by Marisa Olson, Editor and Curator, for Rhizome. The exhibition will tour to the Warehouse Gallery in Syracuse, New York. </p> <p>Networked Nature is supported, in part, by The Andy Warhol Foundation for the Visual Arts, the College Art Association, the New York City Department for Cultural Affairs, and with public funds from the New York State Council on the Arts, a state agency. A full-color catalogue will be published by Rhizome and available at the gallery.</p> <p>Rhizome is a leading new media organization affiliated with the New Museum of Contemporary Art. Its programs support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways - <a href="http://www.rhizome.org">www.rhizome.org</a>; <a href="http://www.newmuseum.org">www.newmuseum.org</a></p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/659 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 30, 2006 - January 6, 2007</div> <div class="exhibition-opening">Opens Thursday, November 30, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/537"><img border="0" src="http://foxyproduction.com/static/dyn-images/34/34034.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents The Captives, the inaugural New York solo exhibition of Cincinnati based artist <span class="caps">JIMMY BAKER.</span> The Captives constructs a compelling imaginary informed by the relationship between war and technology. In this boldly figured mix of painting, sculpture, sound, photography and video, Baker grapples with the costs of progress. Implicating himself and his viewer, he rewires found objects and familiar scenes to produce a flux of emotion, doubt, and thought.</p> <p>Passaro&#39;s Flashlight, an installation comprising sculptural elements, video and a wall drawing, refers to a reported case of torture by a US contractor of an Afghan detainee. A flashlight, wedged into a simulated sandbank, acts like a pinhole camera; when peered down, it reveals footage of the turbulence in Iraq. The surrounding drawing, reminiscent of Heavy Metal symbolism, has a heraldic bearing that alludes to bloodlines and collective symbols, to violence and power. Baker here combines moral complexity with a visual force that recalls Hans Haacke&#39;s conceptual representations.</p> <p>Controlled Room is a matrix of flat-screen TV frames containing satellite photographs, gleaned from the Internet, of <span class="caps">CIA </span>detainment camps from across the globe. Evoking a war nerve center, the work acts as a document of sites of inhumanity, while also exploring the growing functionality of the Internet as a dynamic archive of human activity. The work places the viewer in conflicting positions: as voyeur, witness, and supervisor.<br /> <br /> In Ghost, a chilling audio sculpture, two transparent skeletal arms project from a wall, holding CD players. Each plays a disc with the silk-screened image of an abductee upon it. On one <span class="caps">CD,</span> Baker plays a Slayer song on drums, while on the other Eminem rages against war. Both tracks are overlaid with news reports of Slayer and Eminem&#39;s music being used in psychological torture sessions. Ghost deftly employs drama to figure the unspeakable.</p> <p>In Detonator, Baker places his first cell-phone in a vitrine, as if it were a holy relic. It is hung next to a recycling bin containing phones that appear to have been damaged in an explosion. The work darkly considers recycling and re-purposing, underlining the sinister potential of new technology. It uses a potent visual metaphor to explore the irony of dialogue breakdowns in an era of proliferating communication systems.<br /> <br /> The Prophets is a series of miniature portraits of leading Heavy Metal musicians arranged in a pentangle. Succinctly rendered in oil with resin coatings and composed in soft hues with flat backgrounds, Baker&#39;s intense works give 18th century portraiture a glossed-up digital feel. Each painting has an imperfect, dripping rubber frame that counterpoints the noble gaze of its subject. These fierce men, whose music so often speaks of violence and destruction, are given a beatific luster.</p> <p><a href="http://www.jimmybaker.com/"><span class="caps">JIMMYBAKER.COM</span></a></p> <p>---<br /> Photography by Mark Woods.</p></div> http://foxyproduction.com/exhibition/view/537 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 20 - November 24, 2006</div> <div class="exhibition-opening">Opens Friday, October 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/536"><img border="0" src="http://foxyproduction.com/static/dyn-images/5/5150.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Entoptically Yours, the inaugural New York solo exhibition of Los Angeles artist <span class="caps">VIOLET HOPKINS.</span> The exhibition comprises three intricate cave scenes: large-scale works on paper rendered in colored pencil and ink. These visceral, carnal and emotive netherworlds recall tourist postcards, sci-fi book-covers, fantasy websites, or perhaps Blake&#39;s mystical illuminations.</p> <p>With incredibly subtle gradations of color, and masterful and complex depictions of light, Hopkins creates charged, phosphorescent landscapes. Her palette moves from rich magentas and bloody reds to acidic greens and luminous yellows caught within planes of deep blackness. Beams of light - explorers&#39; torches? - give the caves&#39; architecture their life. Objects and landscapes, rays and shadows, form and reform in dynamic configurations, suggesting internal organs, subterranean oceans, temples, or grand theatrical sets, anticipating a drama&#39;s commencement. </p> <p>Hopkins draws inspiration from the concept of entoptic phenomena, visual effects that result from stimuli from within the eye itself, such as patterns seen when the eyes are pressed closed, or psychedelic forms that result from fluids crossing the eye. Her works resemble entoptic "seeing", with their ambiguous light sources and hallucinatory structures.<br /> <br /> Hopkins&#39; caves are meditations on perception and connotation. Over the ages, the cave has represented home, the womb, the void, and the unknown, and has been central to discourses on perception, art-making, and the subconscious. Tapping this over-determination, Entoptically Yours highlights the complex workings of the visual imagination, while unleashing a range of associations and recollections.</p></div> http://foxyproduction.com/exhibition/view/536 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 7 - October 13, 2006</div> <div class="exhibition-opening">Opens Thursday, September 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/535"><img border="0" src="http://foxyproduction.com/static/dyn-images/4/4657.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Saturated Fat, New-York based artist <span class="caps">ESTER PARTEG</span>&Agrave;S&#39; second solo exhibition at Foxy Production, combines drawings on Mylar, collaged digital prints, a sculpture, and a mural, in an exhibition that cannily articulates tensions around consumption and excess. Parteg&agrave;s is interested in the expression and resistance that somehow escape through fissures in an ever-hardening climate of scrutiny and control of public and private spaces. Taking the city street, its people, products and refuse as her starting point, Parteg&agrave;s creates darkly gestural images that consider how ideas of individuality and collectivity evolve and devolve within the contemporary landscape.</p> <p>On entering the exhibition space, one is struck by super-sized chain links that destabilize one&#39;s sense of scale. The work mines Pop&#39;s witty heritage of amplifying everyday objects, while suggesting conflicting meanings: of banishment and unity, of confinement and incorporation. Parteg&agrave;s sets in relief the complex relationship between object and sign: here the chain&#39;s irresolute symbolism of both control and connectivity.</p> <p>The chain motif is also used in a mural covering two walls of the space. With letters forming the word "barbarian", the work resembles an enormous, subversive charm bracelet. Strikingly linking the sculpture to the works on the walls, the mural appears to map the play of relations presented within the exhibition as a whole.</p> <p>Two large drawings from Parteg&agrave;s` Barricade series lean against the wall. Drawn on layers of Mylar plastic, with pieces of colored paper between them, these complex works use trash as an edgy signifier of the struggle between the corporate and the corporeal. Among litter overflowing from trashcans, words form statements that seem to obliquely critique contemporary life, like a damning return of the repressed. Parteg&agrave;s indicates that within our ever more supervised and restrained experience, it is in the rejected, the unclean, and the surplus that deposits of creativity, agency, and defiance can be discovered.</p> <p>A series of digital collages comprise black and white documentary style photographs of mid-city streets overlaid with spray paint and marker effects, and text from glossy magazine advertisements. The upper-bodies of people in the street are hidden by expressive graphic marks: drips and dots that create clouds of headless people, like collective alien life forms. Our eyes are drawn to their shopping bags, whose text and symbols resemble trademarked comments in displaced speech bubbles, while the collaged appropriated texts seem to dramatize their experiences of desire, fulfillment, and waste.</p></div> http://foxyproduction.com/exhibition/view/535 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 6 - August 4, 2006</div> <div class="exhibition-opening">Opens Thursday, July 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/534"><img border="0" src="http://foxyproduction.com/static/dyn-images/3/3865.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents <span class="caps">P.E.A.C.E., JESSICA CIOCCI</span>&#39;s inaugural solo exhibition. Vivid and disturbing, Ciocci&#39;s work explores the process of consumption through the examination of desire, incorporation and detritus. She appraises childhood as a time when individuals are psychically hardwired to consume, using a primitivist pig-like character as a primary motif to disarmingly critique the dynamics of demand, supply <br /> and surplus.</p> <p>Employing at times a junk-store aesthetic that revels in a world of bric-a-brac, the unwanted and hidden treasures, Ciocci delves into the psychology of our emotional attachment to popular symbols, characters and narratives. Key to her approach is a profoundly intuitive re-presentation of the all-too-familiar as <br /> the uncanny.</p> <p>A grandly-scaled fabric work combines everyday found textiles and repeated motifs, colors and patterning to produce an almost hypnotic effect that pushes figure and form to their limits. Together, diverse snapshot-like photographs - of Bart Simpson dolls, money blowing away on the street, a paper fish, an arm too close to the camera to be in focus - gel into a poignant, downcast whole. A series of collages, using fabric, paint, and found images of Barbie, pets and fairy tales, deftly explore the pleasures and terrors of the childhood experience. An animation-based print and a video use a flatness of texture and color, not unlike that of children&#39;s cartoons, to create bright semi-abstract character-scapes that are undercut by an almost claustrophobic disquiet. A large acid-hued knitted yarn piece, comprising a number of individual panels, appears to be a totem to the pig-like figure, to venerate it, or perhaps, acting like a gargoyle, to <br /> ward off its potential for harm.</p></div> http://foxyproduction.com/exhibition/view/534 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 7 - July 1, 2006</div> <div class="exhibition-opening">Opens Wednesday, June 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/533"><img border="0" src="http://foxyproduction.com/static/dyn-images/3/3355.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">OREET ASHERY</span><br /> <span class="caps">JIMMY BAKER</span><br /> <span class="caps">ALEX HUBBARD</span><br /> <span class="caps">JOHANNES VANDERBEEK</span></p> <p>Foxy Production presents <span class="caps">NOW, MORE THAN EVER, </span>a group exhibition that uncannily and inventively reinterprets "appropriation." Oreet Ashery, Jimmy Baker, Alex Hubbard and Johannes Vanderbeek redeploy and re-contextualize original sources to produce insightful works that transcend their constituent elements. </p> <p>Oreet Ashery combines live art, video, photography, drawing and sculpture in a practice that pushes personal and political representations into previously unchartered territories. In Now, More Than Ever, she presents the Village Series, vivid digital drawings inspired by news reports. Their stylized realism plays with illustration and reportage to explore the limits of the news media and their stranglehold on political symbolism and image-making. </p> <p>Jimmy Baker explores bio- and sub-cultural systems in startlingly visual and original ways. Here he presents an unnerving painting of the lead singer of thrash metal band Nuclear Assault, an almost saintly portrait that projects a disarming innocence, and a customized "I-Pod" sound sculpture with a positive yet disquieting text that poses unsettling questions about our relationship to technological innovation. </p> <p>Alex Hubbard works in video, sound, and 2 and 3D media, exploring responses to social fragmentation and communal anxiety. Here he paints over and around fake "found" posters to create near-abstractions of revelatory vibrancy. His mark-making has an arbitrariness and flatness that strikingly counterbalances the depth of the posters laying beneath.</p> <p>Johannes Vanderbeek creates complex sculptural forms that articulate dramas and atmospheres through intriguing confluences of sign, symbol and figure. For Now, More Than Ever, he assembles degraded pages of Time magazine to create an imposing sculptural piece that appears ambivalently utopian. The original magazines are configured into a portal through which a peace symbol is formed, underscoring Time&#39;s view of power relations with a guarded idealism.</p></div> http://foxyproduction.com/exhibition/view/533 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 27 - June 3, 2006</div> <div class="exhibition-opening">Opens Thursday, April 27, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/475"><img border="0" src="http://foxyproduction.com/static/dyn-images/2/2889.jpeg" alt="" height="324" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents <span class="caps">MICHAEL BELL SMITH</span>&#39;s awaited first solo exhibition, Focused, Forward. Bell-Smith mixes original and appropriated digital imagery to create idea-driven and highly crafted video. He collects digital images - from the earliest videogames to contemporary Internet files - to create video that investigates its own means of production. He makes the cell of the digital image, the pixel, apparent and sets in relief the constituent elements of the moving image: tempo, perspective, frame, and figure. With destabilized narratives and endless loops; figure and gesture, rather than character and action; and 3D continually collapsing into 2D, his work disorients and enthralls.</p> <p> Evocative, lyrical, and astute, Bell-Smith&#39;s work investigates the increasingly mediated nature of everyday life. From the portrayal of war and tragedy as spectacle, to the existential effects of corporate architecture, Bell-Smith poses deft and difficult questions about representation, design, and information technology. He examines "progress" and the anxiety and pleasure it can engender in us all, as well as its centrality to Modernism and the experience of contemporary culture. His scrutiny of digital forms reflects and refracts our paradoxically controlled and controlling, gratifying and stress-inducing, encounters with the computer, the cityscape, and the world at large. </p> <p>Focused Forward includes projection, video sculpture, multi and single-screen video, and a digital print. Continue 2000 (2005) is a digital animation with minimal movement that poignantly combines childlike awe with a disturbing, apocalyptic landscape. Recalling Friederich&#39;s visions of a simultaneously beautiful and threatening natural world, the work keenly expresses the dread and wonder than can be inspired by the sublime. Shaped like a videogame console or war-room radar display, Birds Over The Whitehouse (2006) contains a simulated surveillance video that is at once playful and profoundly disconcerting. With a complex combination of light and dark notes, the work uses custom programmed software to allude to the contemporary political scene. Some Houses Have Pools (2006) is an aerial view of suburbia that unnervingly becomes obscured by Hokusai-like clouds and smoke from a house-fire. The work reflects upon uniformity and divergence within a formal examination of perspective, abstraction, and movement. Sparkler Set (2006) is a multi-screen video of virtual fireworks that wryly presents a spectacle that pushes the boundaries of the figurative. Up and Away (2006) is a beguiling video of landscapes and cityscapes rolling down past each other, at different speeds and with differing perspectives, to create a dizzying yet alluring fantasy of travel, place, and nature. Self Portrait, <span class="caps">NYC </span>(2006), both a portrait full of pathos and a humorous riff on the genre of portraiture itself, depicts a lone figure, frozen as city crowds stream by him. As day turns into night, the hubbub encircling him becomes increasingly manic and abstract. Proposal (2006) is an inkjet print of a Tower of Babel-like structure, where a multitude of colors and patterns come together to resemble a city contained in a single building.</p></div> http://foxyproduction.com/exhibition/view/475 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 23 - April 21, 2006</div> <div class="exhibition-opening">Opens Thursday, March 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/395"><img border="0" src="http://foxyproduction.com/static/dyn-images/2/2277.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents recent work by <span class="caps">FRANK HANNON, JACOB DAHL JURGENSEN </span>and <span class="caps">DAVID NOONAN, </span>three London-based artists who examine interconnections between memory, performance, and ritual. Making the known seem uncanny, they mix references and genres to explore how common practices and codes can determine notions of self.<br /> <br /> Frank Hannon, in his first New York exhibition, presents My Name Is Milton, a sound-sculpture that on first glance resembles a tribal totem. Featuring monochromatic paper scales, and a recording of "Paradise Lost" read in a London pub, the work paradoxically evokes a contemporary but lost time, like a relic of the present. It considers how communal memory is maintained, and how personal stories inter-relate with accepted histories. Hannon also presents two collages, comprising layer upon layer of paper, canvas and paint, with historical images and the repeated scale motif. Creating a dialogue between abstraction and figuration, they express the tension between individual and group mythologies.</p> <p>Jacob Dahl J&uuml;rgensen, also in his first New York exhibition, presents a large geometric sculpture, comprising thin black strips of wood secured with twine and laced with multi-colored bunting. With an almost gravity defying lightness, the work resembles the skeletal remnants of an arcane public ritual. Simultaneously festive and dark, it alludes to the ways shared customs or protocols can bear upon the individual and shape consciousness. A smaller geometric sculpture, a kite-like tetrahedron constructed from wood, vinyl and string, recalls and re-contextualizes Buckminster Fuller&#39;s designs and his positivist belief in the social role art and technology.</p> <p>David Noonan presents a series of screen-prints on canvas of superimposed images that seem to have been gleaned from old drama magazines, and nature and history books. Exploring the experience of memory, Noonan dissolves image into image, like the over-determined symbols of restless dreams. The works suggest narratives of desire, violence, or celebration that have been filtered through the mannered representations of the theatre. These affecting and highly original mise en sc&egrave;nes can trigger a nostalgic response that is underscored by the formality of the individual images. Noonan constructs an emotional struggle between personal stories and imposed histories.</p></div> http://foxyproduction.com/exhibition/view/395 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 16 - March 17, 2006</div> <div class="exhibition-opening">Opens Thursday, February 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/394"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1920.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Leftover Dots From Atoms And Constellations is <span class="caps">YUH</span>-SHIOH <span class="caps">WONG</span>&#39;s first solo exhibition at Foxy Production. Wong presents paintings that appear to contain trace elements from dreams or memories that form and reform to produce deeply affecting visions and experiences. Her work ruptures the relationship between form and content, and between figure and field, subtly destabilizing our understanding of painting. With shards of acid color, or subtle shifts of hue, her palette gravitates between the beautiful and the discordant. In places, her brush-strokes seem to assault the canvas, while elsewhere washes of color ebb and flow. </p> <p>In Wong&#39;s paintings, the figure is always in flux. Its boundaries seem caught within a struggle between abstraction and representation. The dynamic force of these relations elicits meanings that seem to gel and then dissolve within the field of the canvas. </p> <p>On studied reflection, her canvases begin to reveal moments of sentiment, humor, and drama. Hovering between landscapes and dreamscapes, they refuse conclusive definition, but their emotional charge and sensual pull is irresistible. Whether they be recollections of dreams, or unresolved memories of lived experience, they produce a mesmeric, almost cinematic experience of visualized imaginings, feelings, and responses. </p> <p>Wong has developed a striking language of representations, a repertoire of imagery that includes animal, plant and architectural forms. Her animal-like figures signify life in its most experiential mode. Without a sense of identity, history, or reflexivity, but with a transparency and purity of action, animals may illuminate the experience of the pre-symbolic, or the nascent consciousness of early childhood. There is a sensation of newness, of a time when images are first seen, before words can define meaning. </p> <p>Wong&#39;s bold palette may evoke the Fauvists, in particular Matisse and his experiments with representation through his use of bold color and dynamic brushstrokes. Her practice may also recall the composition and drama of Richard Tuttle&#39;s work, who, like Wong, seems to collapse the divisions between painting and sculpture, and whose sheer inventiveness confounds expectations of contemporary painting.</p> <p>Leftover Dots From Atoms And Constellations includes Living In Trees (2005), a painting that may initially appear abstract; however, with time, intriguing elements come to the fore. What may be eyes, ears, animals, fish, and buildings form part of an embedded narrative of conflict and resolution that begins take root. Cropped Forest With Yellow Leaves And Maybe A Cat (2006) also reveals its depth on considered reflection. One&#39;s first impression is of bold colors brushing up against more tempered tones, and powerful brush-strokes evoking drama and action. Again with time, the painting&#39;s details and subtleties appear, drawing the viewer into an emotional narrative that is more suggested than defined, like an incident half-understood and half-remembered from childhood.</p></div> http://foxyproduction.com/exhibition/view/394 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 12 - February 11, 2006</div> <div class="exhibition-opening">Opens Thursday, January 12, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/312"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1458.jpeg" alt="Jacob Ciocci, INSPIRATION SUPERHIGHWAY, 2005, installation view" height="332" width="500" /></a> <p><p>Jacob Ciocci, <span class="caps">INSPIRATION SUPERHIGHWAY,</span> 2005, installation view</p></p> <br /> <div class="exhibition-description"><p>Inspiration Superhighway, Jacob Ciocci&#39;s first solo exhibition, inaugurates Foxy Production&#39;s new storefront gallery space in West Chelsea. A member of artist collective Paper Rad, Ciocci has assembled richly textured works that reflect upon the media&#39;s ever more sensually and psychically intimate connections with young people. Drawing upon his experience of growing up in the information saturated 1980s and 1990s, Ciocci presents narratives that are in essence existential quests, where characters seek meaning from cultural chaos.</p> <p>Inspiration Superhighway comprises a large cube installation containing a six-channel video and sculptural environment, three smaller video cubes, paintings with video elements, and drawings. The large cube contains a boy&#39;s bedroom with a shrine made from character toys, and six video screens that tell the story of the his struggle to leave the confines of his space. The narrative represents the child&#39;s attempts to make sense of the confusing and overly complex system he feels trapped within. </p> <p>In one of the smaller cubes, don&#39;t worry be happy: stressful mix, a remixed video of the popular 1990s song plays with added cartoon characters and animation effects. The soothing intent of the original song is underscored in the remix by a sense of tension and foreboding. The two other video cubes form a single piece, infinity wanderers, that appropriates characters from the 1980s children&#39;s fantasy film, The NeverEnding Story, into a new narrative structure. Each cube has one character trapped in an ultimately futile search for the other.</p> <p>Ciocci&#39;s paintings are collages of pop cultural objects, images and video, including <span class="caps">GIFS </span>downloaded from the internet. Like reliquaries, the works assemble fearful mementos of childhood: monsters who personify a child&#39;s fear of adulthood and the wider world. Reminding us perhaps of Cornell&#39;s boxes, Ciocci&#39;s collections offer a metaphorical passage back to earlier times, to a pre-adult period of imagination and questioning. </p> <p>With pen and spray-paint, Ciocci has created a number of vibrant works on paper that place mythic characters within fantasy fields of brilliant color. Clearly tapping into his work in the underground comic scene, he has produced provocative drawings that call to mind the bizarrely inventive and intricate allegorical landscapes of Bosch. </p> <p>Inspiration Superhighway may evoke Kabakov and his character-driven installations, where constructed environments suggest the struggles of the people imagined to inhabit them; except that Ciocci, drawing from popular entertainment, presents identifiable figures engaged in odysseys within the narratives or game-plays he creates. His detailed systems, constructed from our cultural detritus, present compelling mythologies that fall tantalizingly between the personal and the universal.</p></div> http://foxyproduction.com/exhibition/view/312 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 15 - November 19, 2005</div> <div class="exhibition-opening">Opens Saturday, October 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/307"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1688.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">SARAH DOBAI</span><br /> <span class="caps">RUTH MACLENNAN</span><br /> <span class="caps">ESTER PARTEGAS</span></p> <p>Foxy Production is pleased to present <span class="caps">OVERAWE, </span>a three-person exhibition of sculpture, video, and photography. Overawe engages with a corporate world of obfuscation and spin, one that can produce disillusionment countered by a persistence of the belief in the "American Dream." With a complexity of materials and approaches, Sarah Dobai, Ruth Maclennan, and Ester Parteg&agrave;s home in on the structure of desire and the effects of the relinquishment of personal agency. The works draw the viewer into conflicting positions, inviting one to play the role of an implicated, judgmental interlocutor. </p> <p>Sarah Dobai&#39;s photographs, "A Cloud of Yellow Dust" (2005) and "The Revoked License" (2005), present characters tightly framed within cars. An interior shot of a lone male character in a confined space is juxtaposed with an exterior shot of a female character leaning out a window, producing a stirring image of speed and consumption. Dobai conjures a charged atmosphere of insatiable desires, recalling the work of mid-Century American writers, such as Raymond Carver and Tennessee Williams.</p> <p>Ruth Maclennan&#39;s video, "Dialogue #3 (That&#39;s not for me to say)" (2002), explores the suppressed desires behind the uniform face of big business. Depicting a closeted world in turmoil, Maclennan suggests a narrative that then fails to unfold. Drawing on sources including the emptied-out dialogue of Beckett, courtroom dramas, corporate training videos, and video art, "Dialogue #3" enacts a dislocation between meaning and image, and between a character and the performance they are caught up in.</p> <p>Ester Parteg&agrave;s presents "Life is Tremendous" (2005), a sculptural simulation of an advertisement stand. The sculpture&#39;s enameled structure, made of wood, text, and paper, is supplemented by handmade trash sitting in a flower basket. While the mismatch between the upbeat, over-the-top advert and the austere structure and dark tones of the stand suggest the failure of corporate intent, Parteg&agrave;s also suggests unforeseen spaces of personal agency and appropriation.</p> <p>Sarah Dobai (London, 1966) holds an <span class="caps">MFA </span>from Vancouver University of British Columbia, Canada. Selected exhibitions include: 1000,000mph, London (2005) (solo); Barbara Gross Galerie, Munich, Germany (2004); Bard College, Centre for Curatorial Studies, Annandale-on-Hudson, NY (2003); Kunstlerhaus Bethanien, Berlin, Germany (2002); Artists Space, New York, <span class="caps">USA </span>(2002) (solo); Arnolfini, Bristol, toured to Cornerhouse, Manchester (2002) Entwistle, London (2001) (solo) Lombard Fried Gallery, New York (2001). </p> <p>Ruth Maclennan (London, 1969) holds a BA from Edinburgh College of Art, and an MA from Trinity College, Cambridge and an MA from Goldsmith&#39;s College, London. She has exhibited widely, including: the Ian Potter Museum, Melbourne, Australia (2005); Kulturhuset, Stockholm (2003); Artspace, Peterborough, Ontario, Canada (2003); John Hansard Gallery, Southampton, England (2002); Nadiff, Shibuya, Japan (2002); Kunsthalle, Vienna (1998) (with Szuper Gallery); Kojimachi Gallery, Tokyo (2000); Gallery le Deco, Shibuya, Japan (2000); Gallery <span class="caps">SL,</span> Perm, Russia (2000); Uppsala International Biennale, Sweden (2000); <span class="caps">ICA,</span> London (1999) (with Szuper Gallery). </p> <p>Ester Parteg&agrave;s (La Garriga, Barcelona, 1972) holds a <span class="caps">BFA </span>from the Universitat de Barcelona and has completed postgraduate studies in Multimedia at Hochschule der Kunste. Selected exhibitions include: SculptureCenter, Queens, New York (2005); Telef&oacute;nica, Madrid (2005); Centre Cultural de La Caixa, Lleida, Spain (2004 traveling in 2005); <span class="caps">PS1</span> Contemporary Art Center, Queens, NY (2004); Salina Art Center, Salina, KS (2004); Centre d&#39;Art Santa Monica, Barcelona (2003) (solo); Hallwalls Contemporary Arts Center, Buffalo, NY (2003) (solo); Rice University Art Gallery, Houston, TX (2002) (solo); and the Whitney Museum of American Art at Altria, New York (2002). Parteg&agrave;s is a recipient of the Joan Mitchell Foundation Grant for Sculpture.</p> <p><span class="caps">OVERAWE </span>is curated by artist Ruth Maclennan. For further information or high resolution images, please contact Michael Gillespie or John Thomson: t 212 239 2758 - info@foxyproduction.com</p></div> http://foxyproduction.com/exhibition/view/307 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 11 - October 11, 2005</div> <div class="exhibition-opening">Opens Tuesday, October 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/337"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1813.jpeg" alt="production still" height="333" width="500" /></a> <p><p>production still</p></p> <br /> <div class="exhibition-description"><p><span class="caps">DARE </span>#3: <span class="caps">WYNNE GREENWOOD </span>and K8 <span class="caps">HARDY</span><br /> Curated by Lauren Cornell</p> <p>Foxy Production is pleased to announce New Report, a performance by Wynne Greenwood and K8 Hardy. For the third edition of The Dare Series, Greenwood and Hardy present a live newscast from the feminist TV news station, "WKRH - Pregnant with Information."</p> <p>As Henry Irigaray (Hardy) and Henry Stein-Acker-Hill (Greenwood), the artists stage reports on subjects that might not otherwise be considered newsworthy, including their friends, their bodies, their anxiety, the closing of a feminist bookstore, random acts of dancing, and an evening bath. These "breaking reports" are broadcast live to the newsroom for comment, and then out to their studio audience. While exploring the nature of news as we know it, its parameters and its packaging, New</p> <p>Report delves into underrepresented spaces, crises and histories. K8 Hardy (1977, Fort Worth, TX) holds a BA in Film and Women&#39;s Studies from Smith College, and participated in the Studio Division of the Whitney Museum of American Art Independent Study Program. She is a founding editor of the queer feminist art journal, <span class="caps">LTTR.</span> Selected exhibitions include Reena Spaulings Fine Art, New York (2005); The Kitchen, New York (2005); Art In General, New York (2004); Cubitt Gallery, London (2004); Wexner Center for the Arts, Columbus, OH (2003); Centre National d&#39; Art Contemporain de Grenoble, France (2002).</p> <p>Wynne Greenwood is an artist who lives between New York, Washington and California. In 2000, Greenwood founded the band Tracy + the Plastics, in which she plays all three band members, singing live as Tracy while interacting with the other two members (Cola on drums/ Nikki on keyboards) on a video screen. The band tours often, performing at a range of venues that has included Harvard University, the Plains Art Museum in Fargo, <span class="caps">ND, </span>queer discos, made up art spaces, and the Whitney Biennial (2004). At The Kitchen this past winter, Greenwood collaborated with Fawn Krieger to install a larger than life living room that set the stage for the performance, <span class="caps">ROOM.</span> Her other work includes single channel video, video collaborations with artist K8 Hardy, and music projects with Sally Scardino.</p> <p>The Dare Series, a program of new performance curated by Lauren Cornell.</p></div> http://foxyproduction.com/exhibition/view/337 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 8 - October 8, 2005</div> <div class="exhibition-opening">Opens Thursday, September 8, 6:00 PM - 8:30 PM</div> <br/> <a href="/exhibition/view/272"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1283.jpeg" alt="" height="280" width="400" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">AARON CURRY</span><br /> <span class="caps">NATHAN HYLDEN</span><br /> <span class="caps">BRETT LUND</span><br /> <span class="caps">STEPHEN</span> G. <span class="caps">RHODES</span><br /> <span class="caps">MELANIE SCHIFF</span></p> <p>Curated by <span class="caps">STERLING RUBY</span></p> <p>Foxy Production is pleased to present <span class="caps">AUTONOMY, </span>a group exhibition that engages with Modernism&#39;s legacy in playful and yet substantive ways. The artists astutely incorporate montage, primitivism, formalism and abstraction to produce heterogeneous and mischievous interpretations of the movement&#39;s historical and aesthetic autonomies.</p> <p>Melanie Schiff&#39;s photograph, "Untitled" (2005), at first reveals the ethereal beauty of reflecting rays of light. On further contemplation the everyday elements of its composition become apparent: a light source refracts through a plastic CD cover placed upon an industrial carpet. The work&#39;s abstract nature is underscored by the prosaic elements of its composition. "Untitled" smartly critiques Modernism&#39;s spiritual quest for the sublime by highlighting another of its strategies: its introduction of the readymade into the art system.</p> <p>Stephen G. Rhodes presents "Cartesian Omelette Catcher: after Beckett" (2005), an open modular structure that acts as a darkly comic "dreamcatcher", the device the Chippewa people use to catch nightmares. In Rhodes&#39; work, a rubber chicken, frying pan and eggs are caught within a charred LeWitt-like grid; the traces of a disturbing dream are contained within a Modernist construct. By placing what could be props from an absurdist drama within a degraded Minimalist sculpture, the work wittily highlights Modernism&#39;s struggle with representation.</p> <p>Brett Lund&#39;s "Matriculator" (2005) is a black wooden pillar in two parts. The top section seems to merely rest upon the base section, which is itself propped up by a small wooden wedge. Like a Barnett Newman sculpture in need of attention, the tower seems a little unsteady and its wedge may not be helping matters. Lund has created an imposing work that critiques attempts to purify form while managing to possess a radical, formal beauty. Tension is produced by the possibility of accidental actions undermining the work&#39;s Minimalist integrity.</p> <p>Nathan Hylden presents "Mirage" (2005), a black and white striped painting juxtaposed with a small image of a similarly striped bikini on a woman&#39;s body. The reproduced image cheekily undermines Minimalist conventions, while conversely returning one&#39;s attention to the elemental structure of the painting. This combination wryly eyes Minimalist claims to autonomy and separation by highlighting its hardwired relationship to its opposite, the represented figure. Hylden comments on absolutism by alluding to the Purist&#39;s inevitable contamination by the wider world.</p> <p>Aaron Curry presents "Forced into a depiction of evidence from Boccioni&#39;s can (beans)" 2005), a mixed-media sculptural piece that integrates a variety of references and media: its rounded interlocking form and negative spaces recall the classically Modernist sculptures of Hepworth or Moore, while its flat planes seem to evoke Calder. Its use of twine, bead and carved wood add a primitivist note, while its incorporation of a Jessica Simpson poster and the day-glo sheen of its fluorescent resin finish point to Pop and the 1960s. The title refers to the Futurist Boccioni&#39;s struggles with the need for representational "evidence." These disparate elements fuse into an intense yet open work that contemplates art&#39;s traditions while generating contemporary metaphors about the role and reception of art practice.</p> <p>Aaron Curry (1972, San Antonio, TX) holds a BA from the Art Institute of Chicago and is currently an <span class="caps">MFA </span>candidate at the Art Center College of Design, Los Angeles, <span class="caps">CA.</span> Selected exhibitions include Wight Gallery, <span class="caps">UCLA,</span> CA (2005) (forthcoming); Paxico Gallery, Los Angeles, CA (2005); Worth Rider Gallery, UC Berkeley (2004); and 1R Gallery, Chicago, IL (2002).</p> <p>Nathan Hylden (1978, Fergus Falls, MN) holds a BA from the Minnesota State University and has recently studied at the Staedelschule, Frankfurt Germany. He is currently a Masters candidate at the Art Center College of Design, Los Angeles, <span class="caps">CA.</span> Hylden has recently exhibited at Gallery Nomadenoase, Hamburg (2005).</p> <p>Brett Lund (1973, Minneapolis, MN) attended the Akademie Isotrop residency, Hamburg, Germany (1999-2000) and is currently a Masters candidate at Art Center College of Design, Los Angeles, <span class="caps">CA.</span> He has recently exhibited at Galerie Nomadenoase, Hamburg (2005) and at Daniel Hug Gallery, Los Angeles, CA (2004).</p> <p>Stephen G. Rhodes (1977, Houston, TX) holds a <span class="caps">BFA </span>from Bard College, Annandale, New York and is an <span class="caps">MFA </span>candidate at the Art Center College of Design, Los Angeles, <span class="caps">CA.</span> Exhibitions include: Champion Fine Arts, Culver City, CA (2004); Entropy/James Fuentes, Brooklyn, NY (2001); and The Space/James Fuentes, New York NY (2001).</p> <p>Melanie Schiff (1977, Chicago, IL) holds a <span class="caps">BFA </span>from New York University and is a recent <span class="caps">MFA </span>graduate from the University of Illinois at Chicago. Recent exhibitions include: Modern Culture, New York (2005); Placemaker Gallery, Miami, FL (2004); Kavi Gupta Gallery, Chicago (2004) (solo); and Suitable Gallery, Chicago (2004) (two person).</p></div> http://foxyproduction.com/exhibition/view/272 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 14 - June 4, 2005</div> <div class="exhibition-opening">Opens Thursday, April 14, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/308"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1676.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production is pleased to present New Work, <span class="caps">STERLING RUBY</span>&#39;s second New York solo exhibition. With a growing reputation for distinctive and complex work, Ruby boldly crosses boundaries while hooking the viewer into a searing visceral experience. Vibrant, troubling, intensely visual, his work presents decentered psychological and physical states. Working across disciplines, including collage, drawing, photography, sculpture, video and performance, Ruby is concerned with the interstices between freedom and control, expression and silence, the individual and the communal.</p> <p>In New Work, Ruby furthers his investigations of memory and embodiment through techniques that push accepted forms to their limits. Two large works on paper, Prime Mover 1 &amp; 2, moodily consider the complexities of cultural and personal autonomy. Biomorphic structures - both geometric and organic - connect with fields of black spray-paint to a underlay of web-like shapes, while images of a knife, a ceramic plate, tears and drips remain discrete, unable to be readily incorporated into a body or system.</p> <p>Ruby&#39;s sculptural works evoke organic forms that slip between definitions. Orange Inanimate Torso is an iridescent sculpture made with resin, <span class="caps">PVC </span>and wood. It has a spray-painted overlay, and is placed upon a black veneer pedestal. The work appears to combine organic and human remains in a disturbing scene reminiscent of both a body on a mortuary slab, and a conventional figurative civic sculpture.</p> <p>Ruby&#39;s prints energize the possibilities of photographic collage. Cry is a large, richly layered digital photograph where the word "cry" is imposed upon images of stone, wood, metal and tools. This primordial environment speaks of basic survival, of humanity pared back to the elemental.</p> <p>His new paper collage series explores and critiques the construction of the "natural". He presents images of flora and fauna that may seem cohesive from a distance, yet on closer inspection become jarring. Through these disjunctions, Ruby creates an understated yet powerful sense of spatial disruption and unease.</p></div> http://foxyproduction.com/exhibition/view/308 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 3 - April 6, 2005</div> <div class="exhibition-opening">Opens Thursday, March 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/309"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1805.jpeg" alt="" height="349" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production announces "D.I.Why?", the ground-breaking inaugural solo exhibition of <span class="caps">BEN JONES, </span>a member of the renowned three-person art collective, Paper Rad. Jones combines painting, drawing, sculpture and video to collide the mass produced with the hand-made within vivid constructions of fantasy landscapes. He imaginatively and enigmatically grapples with the pleasure and complexity of the programmed on one hand, and with the aura of originality and creativity of the handcrafted on the other.</p> <p>Jones mines an eclectic cultural vein by mixing with bravura a range of techniques and elements. While recalling Keith Haring&#39;s deceptively spare street-Pop sensibility, Jones&#39; work stakes new ground with its combination of color fields, seas of cartoon-like characters, otherworldly environments, and what he describes as "meta-graffiti."</p> <p>"Supercells" - nine paintings on Plexiglass exhibited with the sheen of their surfaces facing out - forms a dynamic panorama comprising individual works of differing mood and structure. In a series of canvases titled "Dog Face", Jones furthers his exploration of authorship and its commodification: Dog Face is featured as both a visual character and a self-effacing tag or logo. With acrylic and spraypaint, Jones playfully weaves image, text and a fragmentary architectural field to produce vibrant and layered paintings.</p> <p>Rendered with gouache, spray-paint and pencil, Jones presents expressive and witty works on paper. He has produced both sparse, elegant, iconic images and intricate portrayals of complex narratives: a pink and purple <span class="caps">VHS </span>tape floats on the page as does a retro keyboard; "Mystery Mountain" depicts a busy scene of odd characters engaged in a range of curious activities around a craggy peak.</p> <p>The dog-like "Kay Nine" appears as a bold, flat paneled sculptural figure. It sits, watching a video animation of itself moving through repeating, otherworldly architectural spaces reminiscent of the sheer linear structuring of early computer drawing programs. Jones also presents the video "Face Maker", a brilliantly colored animation of multiple character portraits; and the trippy "Tragic Carpet Ride", where a strangely comic being floats through an intensely blue sky on a multicolored carpet.</p></div> http://foxyproduction.com/exhibition/view/309 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 15 - February 17, 2005</div> <div class="exhibition-opening">Opens Tuesday, February 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/311"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1814.jpeg" alt="Allison Smith, 2004 Photo: Bob Braine" height="576" width="371" /></a> <p><p>Allison Smith, 2004<br /> Photo: Bob Braine</p></p> <br /> <div class="exhibition-description"><p><span class="caps">DARE </span>#2: <span class="caps">ALLISON SMITH</span><br /> Curated by Lauren Cornell</p> <p>What ever happened to the tradition of the public address? These days, politicians blink and stutter in the face of internationally syndicated broadcasts, whereas in yesteryear elected officials and citizens alike passionately took to the podium to speak their minds, uninhibited by the flack of a televised audience. For Dare #2, artist Allison Smith revives this tradition by giving a public address at Foxy Production. Here, fashioned as a Civil War era recruiting officer, Smith will deliver a call to arms and a call to art - in one.</p> <p>For the past ten years, Smith has conducted an investigation of the Civil War reenactment community, a group of living historians who re-stage the events of this period as a form of pedagogy and cultural practice. Smith has appropriated the vernacular of this community, using it as an aesthetic palette for sculptural installations that examine the role craft has played in the construction of national identity. Smith has taken a particular interest in the notion of "trench art", or art made by soldiers from the materials of war. Her recent work proposes that since we are living in the context of war, contemporary art can be a form of "trench art", and artists a volunteer militia.</p> <p>Smith&#39;s Public Address for the Dare Series will explore how the Blue and Red states of the last two presidential elections echo the Blue and Grey states of the American Civil War, which similarly divided<br /> the <span class="caps">U.S. </span>citizenry on geographic, moral and ideological lines. Furthermore, Smith will enlist the Union versus Secession conflict as a metaphor to illuminate tensions within contemporary <span class="caps">GLBTQ </span>communities, who find themselves split between mainstream and subcultural identification.</p> <p>Allison Smith&#39;s address at Foxy Production is part of a series of events that aims to energize a public and recruit participants to her campaign. Over the summer of 2004, Smith organized a weekend encampment on the Catskills property of Mark Dion and J. Morgan Puett in which artists came together to create their own historical event. Smith distributed a broadside asking people in her artistic and queer communities what they are fighting for, and inviting them to fashion their own uniforms and declare their causes publicly. This initial gathering of the troops, or Muster, will culminate in an event sponsored by the Public Art Fund, to be held on Governors Island in May 2005.</p> <p>Allison Smith (1972) holds an <span class="caps">MFA </span>from Yale University and completed the Whitney Museum Independent Study Program. She has exhibited at numerous venues including Artists Space, New York (2005); Space<br /> 1026, Philadelphia, PA (2003); and the Palm Beach Institute for Contemporary Art (2001). Smith is represented by Bellwether, New York, where she presents her next solo show in May 2005.</p> <p>The Dare Series, a program of new performance curated by Lauren Cornell.</p></div> http://foxyproduction.com/exhibition/view/311 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 8 - February 12, 2005</div> <div class="exhibition-opening">Opens Saturday, January 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/314"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1816.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">MICHAEL BELL</span>-SMITH<br /> <span class="caps">BARBARA PROBST</span><br /> <span class="caps">DIANA PUNTAR</span><br /> <span class="caps">STERLING RUBY</span></p> <p>Foxy Production announces <span class="caps">GEO, </span>a group exhibition containing drawing, photography, sculpture and video that use geometry as a base to pose contemporary questions. Revisiting earlier explorations of the plane, line and grid, these works re-assess Modernism&#39;s utopian, spiritual and existential themes. <span class="caps">GEO </span>provides a dynamic snapshot of the evolving interest in the re-conceptualization and re-valuing of geometric structure by a new generation of artists.</p> <p>Michael Bell-Smith (1978) holds a BA in Semiotics from Brown University. Exhibitions include: The Infinite Fill Show, Foxy Production, New York (2004); [plug.in], Basel, Switzerland (2003); Foundation for Art &amp; Creative Technology, Liverpool, England (2003); Pacific Film Archives, Berkeley, CA; University of Washington Center for Digital Arts and Experimental Media, Seattle, WA (2003); Eyebeam Gallery, New York (2002).</p> <p>Barbara Probst (1964) holds a <span class="caps">BFA </span>from the Akademie der Bildende Kunste, Munich and an <span class="caps">MFA </span>from the Kunstakademie D&uuml;sseldorf, Germany. Exhibitions include: Murray Guy, New York (2004) (solo); Museum of Contemporary Photography, Chicago, IL (2004); Galerie Asbaek, Copenhagen (2004); Kunsthaus Graz, Austria (2004); Between Spaces, Centro Cultural Andratx, Mallorca, Spain (2003); Kunstmuseum, Aarhus, Denmark (2002); Kunstverein Cuxhaven, Germany (2002) (solo); Photography after Photography (traveled to Fotomuseum Winterthur, Switzerland; Finnish Museum of Photography, Helsinki; Institute of Contemporary Art, Philadelphia, <span class="caps">PA, </span>and other venues (1995-1997).</p> <p>Diana Puntar (1970) holds a BA from the University of Maryland, College and a <span class="caps">MFA </span>from the School of the Museum of Fine Arts, Boston. Exhibitions include Participant, New York (2005) (solo); SamSon Gallery, Boston (2004); Space 101, Brooklyn NY (2003); Luhring Augustine, New York (2003) ArtSpace, New Haven, CT (2002); Bellwether, New York (2001); <span class="caps">PS122,</span> New York (2000); The <span class="caps">ICA,</span> Boston (1999).</p> <p>Sterling Ruby (1972) holds a <span class="caps">BFA </span>from The Art Institute of Chicago and is currently an <span class="caps">MFA </span>candidate at the Art Center College of Design, Pasadena. Exhibitions include Ronald Feldman Fine Arts, New York (2004); Wight Gallery / <span class="caps">UCLA,</span> LA (2004); Monya Rowe, New York (2004); David Kordansky Gallery, LA (2004); (collaborations with Kirsten Stoltman), <span class="caps">LFL,</span> New York (2004); Southfirst, Brooklyn NY (2004); Foxy Production, New York; Tate Britain, London (2003); Cirrus Gallery, Los Angeles (2003); The Bower, San Antonio (2003); Smart Project Space, Amsterdam (2003); 1R Gallery, Chicago (2003); The Ukrainian Institute of Modern Art, Chicago (2003).</p></div> http://foxyproduction.com/exhibition/view/314 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 11 - December 18, 2004</div> <div class="exhibition-opening">Opens Saturday, December 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/313"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1815.jpeg" alt="Tara Mateik, 2004 Photo by Adam Reich" height="400" width="334" /></a> <p><p>Tara Mateik, 2004<br /> Photo by Adam Reich</p></p> <br /> <div class="exhibition-description"><p><span class="caps">DARE </span>#1: <span class="caps">TARA MATEIK</span><br /> Curated by Lauren Cornell</p> <p>Foxy Production presents Dare # 1 by Tara Mateik, a performance taking place December 11th, 16th and 18th. Dare # 1 inaugurates The Dare Series, a program of new performance curated by Lauren Cornell.</p> <p>Dare #1 assumes the form of an orientation meeting for the organization <span class="caps">SBI </span>(Society of the Biological Insurgents). Though <span class="caps">SBI</span>&#39;s mission - "to overthrow institutions of compulsory gender" - implies a certain gravitas, the actions waged by this self-described "embryonic cell organization" are equal parts critical consideration and humorous send-up of historical standards of sexual normalcy. Tara Mateik, <span class="caps">SBI</span>&#39;s founder, will deliver a performative lecture that integrates power point with performed examples of <span class="caps">SBI </span>interventions both live and on video. These interventions range from Situationist inspired pranks, as in <span class="caps">SBI</span>&#39;s sandpaper book-marks equipped to erase all textual references pathologizing gender deviance, to revivals of outmoded sexual innuendoes such as the infamous "Hanky Code". Each commands a moment of rupture in popular views of gender and sexuality to question the influence of clinical and biological discourses.</p> <p>Tara Mateik (1974, Leominster, MA) holds a BA in Film and Video from Hampshire College and an <span class="caps">MFA </span>in Integrated Electronic Arts from Rensselaer Polytechnic. Selected exhibitions include: <span class="caps">FACT</span>/The Liverpool Biennial, UK (2004); Laboratoria Arte Alameda, Mexico City (2004); Participant, New York; Women In the Director&#39;s Chair (WIDC), Chicago, IL; Anthology Film Archives, New York (2003); Center for Contemporary Art, Vilnius, Lithuania (2003); and Andrew Kreps Gallery, New York (2003). Publications include: <span class="caps">GRIP</span>: Society of Biological Insurgents (SBI) Code of Operations (RPI Press 2004); <span class="caps">LTTR</span>: A Feminist Art Journal (LTTR 2001); and <span class="caps">FELIX</span>: A Journal of Media Arts and Communication (Semiotext(e) 1999). Mateik was the Coordinating Director of Paper Tiger Television (1998-2002).</p></div> http://foxyproduction.com/exhibition/view/313 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 23 - November 27, 2004</div> <div class="exhibition-opening">Opens Saturday, October 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/315"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1817.jpeg" alt="" height="319" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">JIMMY BAKER</span><br /> <span class="caps">GAIL STOICHEFF</span><br /> <span class="caps">YUH</span>-SHIOH <span class="caps">WONG</span></p> <p>Foxy Production announces <span class="caps">DESPITE THE SUN, </span>a striking group exhibition that explores the paradoxes and polarities of painting&#39;s relationship with nature and form. Jimmy Baker, Gail Stoicheff and Yuh-Shioh Wong have produced a vivid range of images that investigate the meanings and value of the inorganic, the organic, and the "meta-organic" - the experience of subjectivity in time and space.</p> <p>Jimmy Baker&#39;s promiscuous installation, "It&#39;s Hard To Start Small", features a vinyl on sintra backdrop with a stylized rural river valley landscape. Beyond this scene are smaller paintings and sculptures that seem part of a surreal bio-cultural system. Baker creates a discourse on the efficacy of critique and agency through a collage that includes live organic plants, Punk sounds and images, and paintings of GM corn and soya.</p> <p>Gail Stoicheff&#39;s painting "Mellow-Out" is a large scale exploration of space and subjectivity. Stoicheff&#39;s complex use of air-sprayed acrylic, painted pigment and gel, creates a disorienting optical zone that seems to hover somewhere between a window on the world, and a pure textural field. Presenting a dynamic and immersive space, the work embraces speed and instability.</p> <p>Yuh-Shioh Wong&#39;s relief paintings present destructured characters within fractured landscapes. The "natural" and the "real" are propelled way beyond conventional definitions in these witty and yet unnerving explorations of figures and fields. The familiar elements of representation scale, correspondence, color - are subverted in ways that are pleasurably ambiguous and yet compellingly multi-valent.</p> <p>Jimmy Baker (1980) holds a <span class="caps">BFA </span>from Columbus College of Art and Design, Ohio andan <span class="caps">MFA </span>from The University of Cincinnati, <span class="caps">OH.</span> Recent projects include a collaboration with Downtown For Democracy, New York (2004), and organizing and exhibiting with Publico, a collective art space in Cincinnati. Baker made his New York debut in the Infinite Fill Show at Foxy Production this summer. Baker lives and works in Cincinnati.</p> <p>Gail Stoicheff (1976) holds a <span class="caps">BFA </span>in from Pennsylvania State University and an <span class="caps">MFA </span>from Bard College, Annandale on Hudson, <span class="caps">NY.</span> Exhibitions include: Side Out, The Brewery, Brooklyn, NY (2003); The Warm Weather is Holding, <span class="caps">UBS</span> Exhibition Center, Brooklyn, NY (2003); and Painting Class, Pencil Factory, Brooklyn, NY (2003). Stoicheff has received the prestigious Dedalus Foundation Fellowship (2004) and The Elaine De Kooning Painting Award (2004). Stoicheff lives and works in Brooklyn, <span class="caps">NY.</span></p> <p>Yuh-Shioh Wong (1977) holds a BA in Visual and Environmental Studies from Harvard University and an <span class="caps">MFA </span>in Painting from Hunter College, New York, and attended the Skowhegan School of Painting and Sculpture, <span class="caps">ME.</span> Selected exhibitions include: <span class="caps">ATM</span> Gallery, New York (2004) (solo); Pierogi, Brooklyn, NY (2004); Southfirst, Brooklyn, NY (2004); Sixtyseven, New York (2003); Deitch Projects, New York (2003). Wong lives and works in Brooklyn, <span class="caps">NY.</span></p></div> http://foxyproduction.com/exhibition/view/315 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 10 - October 16, 2004</div> <div class="exhibition-opening">Opens Friday, September 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/316"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1818.jpeg" alt="" height="287" width="432" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production announces &#39;they became what they beheld&#39;, <span class="caps">DAVID NOONAN</span>&#39;s second New York solo exhibition. Featuring a series of fabric paintings, works on paper and a new film, Noonan produces an almost supernatural environment that both displaces and potently engages with a sense of shared history. Noonan&#39;s new works appear to be inspired by the 1970&#39;s mix of Modernist design, borrowings from the past, and the period,s fascination with the Orient. He reflects the era&#39;s motifs, aspirations and follies through an uncanny, disquieting lense.</p> <p>"David Noonan&#39;s recent paintings retrospectively capture the transitional mood of this period in their tenebrous representation of various phenomena reminiscent of the particular period. He combines such divergent cultural motifs as European villas, young people in elaborately designed tunics, and Indonesian shadow puppets that suggest a host of possible narratives that viewers must create themselves."</p> <p>-- Dominic Molon, Pamela Alper Associate Curator at the Museum of Contemporary Art, Chicago, from his catalogue essay accompanying the exhibition.</p> <p>Noonan paints with bleach on black canvas to extraordinary effect. By extracting rather than applying pigment, he produces images including towering trees, a pheasant, a kimono,s patterning - with a remarkable tonal range and an almost photographic depth of field. The individual works taken together seem to suggest troubling, almost cinematic narratives. In the exhibition,s centerpiece, a young man and woman clad in highly patterned tunics form a yin-yang shape; while in other works they appear in moody ethereal interiors alone or together. Are we revisiting a long-extinguished romance, or witnessing a vibrant contemporary one? Dark, haunting external point of view images of the Swiss painter Balthus, villa suggest ominous events within. Owl (2004), Noonan&#39;s new film, observes these nocturnal creatures, expressing their timeless associations with wisdom, death and chance.</p></div> http://foxyproduction.com/exhibition/view/316 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 22 - August 21, 2004</div> <br/> <a href="/exhibition/view/317"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1819.jpeg" alt="" height="387" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">THE INFINITE FILL SHOW</span><br /> <span class="caps">CURATED</span> BY <span class="caps">CORY </span>+ <span class="caps">JAMIE ARCANGEL</span></p> <p>Foxy Production announces <span class="caps">THE INFINITE FILL SHOW, </span>a group exhibition of dazzling black and white patterns, curated by brother and sister team Cory and Jamie Arcangel. The exhibition includes new and historical, readymade and handcrafted works in a range of media. The curators sent out an open call to artists for found or made objects which had to adhere to two basic rules: they must be black and white, and they must contain repeating patterns. The curatorial concept was inspired by <span class="caps">MAC</span> Paint, the 1984 software application with varied 16-bit monochrome patterning that could be picked and dropped into areas of the screen to denote color and depth. For Cory and Jamie Arcangel, this rudimentary precursor to Photoshop&#39;s draw and paint functions provides a creative tool to explore multiple perspectives within a unifying aesthetic.</p> <p>The Infinite Fill Show, features over eighty artists, from high school students to internationally renowned artists, including: Lucas Ajemian + <span class="caps">LLFS,</span> Elyse Allen, Cory Arcangel, Jamie Arcangel, Maureen Arcangel, Steve Austin, Jimmy Baker, Michael Bell-Smith, Orit Ben-Shitrit, Marc LeBlanc, Chris Bors, Sascha Braunig, Jonah Brucker-Cohen, James Buckhouse, Anthony Campuzano, Henry Chamberlain, Peter Coffin, Ryan Compton, Elisabeth Condon, Matt Coors, Devon Costello, Mark Daggett, Jim Drain, Sarah Dunbar, Dragan Espenschied, Devin Flynn, Nello Gacuda, Joy Garnett, Tamara Gayer, Paul Gigolotti, Benjamin Godsill, Katherine Grayson, Sabrina Gschwandtner, Jim Hamlyn, Tamara Henderson, Honeygun Labs, <span class="caps">G.H.</span> Hovagimyan, Akiko Ichikawa, Ketta Ioannidou, jimpunk, Aya T. Kanai, Chris Kasper, Ori Kleiner, Paul Laster, Patrick Lichety, <span class="caps">LOVID,</span> Noah Lyon, Kevin McGarry, Joe McKay, Erica Magrey, Frankie Martin, Jonte Martin, Jillian Mcdonald, Louisa Minkin, Justin Michell, Kyle Mock, Tom Moody, <span class="caps">MTAA,</span> Josh Nimoy, David Noonan, Marisa Olsen, <span class="caps">PAPER RAD,</span> Marcin Ramocki, Scott Reeder, Tyson Reeder, Douglas Repetto, Leif Ritchey, <span class="caps">RSG,</span> Sterling Ruby, Mag Ruder, Justin Samson, Gregory J Scranton, Daniel Shiffman, Sistaz 4Ever, Paul Slocum, Renee So, Erika Somogyi, Nancy Smith, Oriane Stender, Kirsten Stoltmann, Jennifer Sullivan, Michael Takeo, Joshua <span class="caps">W.F.</span> Thomson, Cody Trepte, Van Arsdale High School Art Students, Andrew <span class="caps">M.K.</span> Warren, Ben Warwas, Andrew Jeffrey Wright.</p></div> http://foxyproduction.com/exhibition/view/317 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 3 - July 10, 2004</div> <div class="exhibition-opening">Opens Thursday, June 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/318"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1820.jpeg" alt="" height="324" width="432" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">JANE BENSON</span><br /> <span class="caps">SEAN DACK</span><br /> <span class="caps">DAVID NOONAN</span><br /> <span class="caps">JOSHUA</span> WF <span class="caps">THOMSON</span></p> <p>Foxy Production announces <span class="caps">GLAD DAY, </span>a group exhibition that presents narratives from recent, distant and mythic pasts that respond to contemporary conditions. Glad Day, William Blake&#39;s enigmatic color print from 1794, depicts the character Albion (both man and nation) ecstatic at his freedom from the slavery of materialism; a revelry that is also a "dance of Eternal Death." Mythological narrative with compelling contemporary resonance is the inspiration for Glad Day: from the allegorical imaginings of early Man to a collection of recordings of surveillance cameras from distant places, these elegant and intricate works offer contemplation upon a conflicted world.</p> <p>Jane Benson conjures a khaki chandelier, fabricated from party decorations. Evoking bygone military pomp, the object is at once majestic and absurd, a symbol of faded power and glory. Sean Dack presents C-prints sourced from surveillance cameras positioned in random places across the globe. A video projector, connected to web-streams from the various cameras, is used to develop the photographic paper. Dack intercepts the live flow of information to create moody deep-red images of displacement.</p> <p>David Noonan&#39;s sepia-toned gouaches in heavy elaborate frames and his earth-toned silkscreen print of a crocheted house create a retrospective aesthetic, an otherworldly past that is too disquieting to be nostalgic. Joshua <span class="caps">W.F.</span> Thomson presents the "Institute of Ape Culture". A framing device for drawings, video and performances, the Institute imagines early man&#39;s engagement with basic utilitarian problem-solving and the development of a symbolic order.</p></div> http://foxyproduction.com/exhibition/view/318 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 17 - May 29, 2004</div> <div class="exhibition-opening">Opens Saturday, April 17, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/319"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1674.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production announces 3D, the first solo exhibition by <span class="caps">PAPER RAD.</span> 3D explores dimensionality in terms of spatial structure, connectivity and essence. Each element in 3D inventively interrelates to produce a remarkable matrix of materials and ideas. Paper Rad remap the experience of dimension, producing phantasmal fields from wildly promiscuous ingredients. Acrylic paintings on quartz-shaped panels form a prismatic pyramid that boldly mixes geometric schemes, iconic faces and found images. A stack of six monitors forms an installation of revelatory animation. As a character-driven video construction, it wittily explores narrative within a looped structure. A set of iridescent spray paintings depicts totemic and mythical figures within enigmatic yet involving storylines.</p> <p>Paper Rad is composed of Jacob Ciocci, Jessica Ciocci and Benjamin Jones. Their painting, music, performance, animation, web art and drawing interweave to generate an extraordinarily compelling body of work. They infuse the familiar and the comfortable with unexpected shifts of meaning. Their art has been described as "Blakean", and like Blake they divine a cast of characters with a desire for transcendence. Using a vibrant palette, they explore transformation through the use of myth and playful, meta-ironic humor.</p> <p>Paper Rad may be understood as a constellation rather than a group. Their proximity to one another generates a bold and hallucinatory creativity as well as a gravitational pull toward provocative reflection. Their individual contributions distill into a remarkably resonant system. Paper Rad sprang from the now legendary art scene of Providence, Rhode Island in 2000. They have collaborated in different formations with a number of other collectives, including Beige, Paper Rodeo and Forcefield.</p></div> http://foxyproduction.com/exhibition/view/319 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 6 - April 10, 2004</div> <div class="exhibition-opening">Opens Saturday, March 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/320"><img border="0" src="http://foxyproduction.com/static/dyn-images/21/21027.jpeg" alt="" height="594" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production announces Civilization Is Overrated, <span class="caps">ESTER PARTEG</span>&Agrave;S&#39; fourth New York solo exhibition. Civilization Is Overrated presents a darkly comic turn to Partegas&#39; Pop-influenced handmade explorations of urban space and consumer lifestyles. Dramatically-scaled sculptures engulf the entire gallery: a trompe-l&#39;oeil thirteen foot high throw-away plastic bag is squeezed between floor and ceiling; a regular-sized bench nestles at its base, appearing miniaturized; a glistening wintry tree sculpture towers alongside, furthering a sense of disorientation; other fabricated detritus are crammed into the remaining space.</p> <p>Partegas invites us to enter a paradoxical, almost Beckettian world that suggests the possibility of both inevitable apocalypse and a continuous present - doomsday everyday. Her "endgame" embodies a cool aesthetic that transcends reassuring notions of the "handmade" and questions the packaged nature of urban design and culture. Partegas brings a "Biotech" currency into play: her angular tree sculpture is an actualization of virtual modeling; its wooden trunk and branches are geometrical, yet its irregular structure suggests mutation. Civilization Is Overrated offers no safe viewing positions; like an enormous viral life form, it physically overwhelms.</p> <p>Ester Partegas was born in 1972 in La Garriga, Barcelona, and is based in Brooklyn. She holds a <span class="caps">BFA </span>from the Universitat de Barcelona and has completed postgraduate studies in Multimedia at Hochschule der K&#159;nste, Berlin. Selected solo exhibitions include Centre d&#39;Art Santa M--nica, Barcelona (2003); Hallwalls Contemporary Arts Center, Buffalo, NY (2003); Rice University Art Gallery, Houston, TX (2002); Helga de Alvear, Madrid (2001). Selected group exhibitions: &#39;The Paper Sculpture Show&#39;, SculptureCenter, New York (2003); &#39;Outer City/Inner Space&#39;, Whitney Museum of American Art at Altria, New York (2002). &#39;The Passions of the Good Citizen&#39;, apexart curatorial program, New York (2002). Parteg^s has been featured in Flash Art, Tema Celeste, Sculpture, Cabinet, <span class="caps">ABC</span> Cultural, Lapiz and ArtText.</p></div> http://foxyproduction.com/exhibition/view/320 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 22 - February 28, 2004</div> <div class="exhibition-opening">Opens Thursday, January 22, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/321"><img border="0" src="http://foxyproduction.com/static/dyn-images/2/2479.jpeg" alt="" height="187" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Foxy Production presents Disintegrating Identities Morph into One Solid Rainbow, the first New York solo exhibition of LA-based artist, <span class="caps">STERLING RUBY.</span> Ruby probes the amorphous nature of marginal environments and activities. Materials and gestures mark sites of violence, sex and drug-use, forming a charged exhibition of risk and rapture.</p> <p>Ruby&#39;s work is fuelled by an exciting visual fluidity and emotional intensity that slices through popular culture, art history, psychology and politics with a raw and daring vision. Disintegrating Identities combines sculpture, video, drawing and photography to explore transient substances, spaces and psychologies. Creating an unruly visceral space, spray painted plywood walls act as a backdrop to a sculptural web of platted hair extensions, dyed latex, wool, and glazed ceramics. In the video, Transient, Ruby suspensefully explores corporeal dissolution and abjection: Survivalist rituals performed in LA&#39;s wastelands are inter-cut with dreamy pans of a ceramic sculpture, while a disturbing voice tells of being kidnapped as a child and how the experience has informed a surreal state of mind. In a series of drawings using found photographs, nail polish and pencil, Ruby morphs depth and surface: the geometric disintegrates into the organic and signifiers of desire leave residues of violence and deterioration. Two large photographs evoke a monstrous and beautiful fragility: in Bed of John, tarred sandbags form a wound-like cavity adjacent to a cindered trash bin, while in Spectrum Tree, an isolated vandalized tree is embedded in a hallucinogenic landscape.</p></div> http://foxyproduction.com/exhibition/view/321 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 3, 2003 - January 17, 2004</div> <div class="exhibition-opening">Opens Wednesday, December 3, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Foxy Production presents wildlife, the first New York solo exhibition of Madrid-based artist, <span class="caps">TERESA MORO.</span> In a new series of paintings and works on paper, Moro explores the cushioned architecture of everyday life. Moro creates isolated and huddled groups of beds, sofas and chairs that foreground a contemporary desire for comfort, social withdrawal and impassivity. Moro&#39;s soft architecture frames the absent body while possessing anthropomorphic and metaphysical qualities. Gold is over-laid with muted color to produce shimmering soft haloes in spaces without depth or graphic clarity. Moro executes a troubling aesthetic that makes the banal appear transcendent, producing beautiful and disturbing icons of leisure.</p></div> http://foxyproduction.com/exhibition/view/322 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 22 - November 29, 2003</div> <div class="exhibition-opening">Opens Wednesday, October 22, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Foxy Production presents the second New York solo exhibition of London-based artist, <span class="caps">OREET ASHERY.</span> Comprising prints, drawings, sculptural reliefs and video works, Performance 2003 furthers Ashery&#39;s concerns with the formation and disruption of identity. Exploring the psycho-sexual within cultural history, Ashery creates a complex landscape that avoids uncomplicated validation and easy answers.</p> <p>Souvenirs, glamour girls, erotica and handicrafts jostle for attention on a carnivalesque wall of images. This dense vivid collage includes plastic statuettes on cloud-like pedestals, drawings of coy rabbit puppets, digital prints of dreamy women and photographic scenes of miniature gardens and homes. In the video, Dancing with Men, Ashery dresses as an Orthodox Jewish man and participates in a festival in northern Israel in honor of Rabbi Bar Yochai, who requested his followers to "Be Happy, Smile, Dance!". His followers put his teachings into practice by fusing techno, Arabic music and Jewish prayer, creating a Rave of unexpected cultural fluidity within traditional confines. Too Late Baby, an 8 minute video with an original electronic soundtrack, imbues performance rituals with a sense of failure: a white wedding ceremony is interrupted; Jesus is resurrected in an Italian festival in London; and Ashery re-enacts childhood activities within contested areas of Jerusalem. Treatment, a 6 minute silent video, collages a history of head-shaving; acts of humiliation, sacrifice and sexual investment seep into one another.</p></div> http://foxyproduction.com/exhibition/view/484 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 10, 2003 - October 18, 2004</div> <div class="exhibition-opening">Opens Wednesday, September 10, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Foxy Production announces the first solo exhibition of New York artist, <span class="caps">ABBEY WILLIAMS, </span>and the opening of our new Chelsea gallery on West 27th Street. Williams presents Moon in Gemini, a three-channel <span class="caps">DVD </span>film that explores desire, love and loss.</p> <p>Moon in Gemini grapples with the physicality, emotions and aesthetics of desire. The viewer is placed in the exciting and yet troubling nether region between romance and sex. Moving from a day-dreaming bedroom scene,<br /> the film&#39;s main character attempts to act upon her yearnings by initiating multiple charged encounters on the street. Although her actions preserve a certain innocence and may aspire to a romantic ideal, they certainly<br /> implicate the viewer in her libidinal journey. Action, song and choreographed scenes are inter-cut - the character earnestly sings a karaoke rendition of Avril Lavigne&#39;s I&#39;m with You; &#39;60s female rock fans scream whilst in the throws of idolatry; whirling dervish break dancers hypnotically spin - creating narrative ruptures reminiscent of Bollywood cinema. Offering multifarious forms of bliss and loss, Williams makes intensely visceral the adage that desire is all about not having.</p> <p>With deft editing and using multiple-screen projection to full effect, Williams washes the viewer in image, song and sound, while wittily provoking and challenging. She pursues remarkably fresh ground in the well-contested field of the representation of desire. Eschewing the<br /> hardcore, she produces a subtle, yet engaging, portrayal of the complexity of the world of love.</p> <p>Abbey Williams recently completed graduate school at Bard College. She has recently exhibited at: Art in General, New York; The New York Underground Film Festival; <span class="caps">ATM,</span> New York; Foxy Production, Brooklyn; Revolution, Detroit; City Zooms, Bremen, Germany. Upcoming projects include Blinky/American Video, Tate Britain, and Hovering, Peres Projects, <span class="caps">LA.</span></p></div> http://foxyproduction.com/exhibition/view/328 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 27 - June 27, 2003</div> <div class="exhibition-opening">Opens Friday, June 27, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p><span class="caps">KNIT KNIT </span>#2</p> <p><span class="caps">CORY </span>+ <span class="caps">JAMIE ARCANGEL</span><br /> <span class="caps">PAPER RAD</span><br /> <span class="caps">OCCASIONAL DETROIT</span></p> <p>Launch Of Knitknit #2 + Live Performances By: Cory And Jamie Arcangel + Paper Rad + Experimental Hip Rock By "Occasional Detroit". Knitknit #2 Features: Jesse Alexander, Peter Coffin, Emily Drury, Aya Kanai, Lee Krist, Taylor Painter-Wolfe, Rose White, Elliot Winard. Knitknit Is Produced By Sabrina Gschwandtner.</p> <p>KnitKnit is a limited edition quarterly published by Sabrina Gschwandtner. KnitKnit contains interviews, profiles, and articles by artists who work at the intersection of utilitarian craft and contemporary art. Issue #2 highlights include: How to make your own dyes from leaves and flowers, process your own motion picture film, and knit an iPod cosy. guides to <span class="caps">DIY </span>silk-screening, T-shirt making, and <span class="caps">ASCII </span>textiles. Plus artist profiles, essays, and reviews. http://www.knitknit.net</p> <p>Cory and Jamie Arcangel get back together for a live performance of new-wave obsolete computer rock! http://www.beigerecords.com/cory. Paper Rad (Benjamin Jones, Jessica Ciocci and Jacob Ciocci) present a charged act that wrestles with faith in a world of lost-innocence. http://www.paperrad.org Direct from Michigan, Occasional Detroit promises to blow our minds with experimental hip-rock. http://www.beyababa.indiegroup.com</p></div> http://foxyproduction.com/exhibition/view/327 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 23 - June 30, 2003</div> <div class="exhibition-opening">Opens Friday, May 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/326"><img border="0" src="http://foxyproduction.com/static/dyn-images/1/1824.jpeg" alt="Paper Rad Poster 2003 " height="216" width="171" /></a> <p><p>Paper Rad <br /> Poster 2003</p></p> <br /> <div class="exhibition-description"><p>A <span class="caps">CONSTRUCTED WORLD</span><br /> <span class="caps">CORY ARCANGEL</span>/BEIGE<br /> <span class="caps">SARAH CIRACI</span><br /> <span class="caps">PAPER RAD</span></p> <p>Foxy Production presents <span class="caps">BLINKY, </span>an exhibition inspired by the energy of collaboration and participation. Blinky features anarchic aesthetic ideas springing from a techno-driven culture. &#39;80s video games, flying saucers, &#39;60s cartoon characters, and acts of transgression are subjected to exhilarating treatments that provoke both critical and pleasurable responses to received notions of technology and history.</p> <p>A Constructed World (Jacqueline Riva and Geoff Lowe) presents prints and paintings that contemplate explosive situations and unruly forms of speaking. Developing from hacker culture, Cory Arcangel/BEIGE present silk-screened landscape studies, processed through Super Mario Brothers/Nintento code*. Arcangel also exhibits video works (made with <span class="caps">BEIGE </span>collaborators Paul B. Davis and Joseph Bonn) that are programmed and played on reverse-engineered Super Mario Brothers&#39; cartridges. Sarah Ciraci presents digital prints of <span class="caps">UFO</span>s that are seductively psychedelic rather than icons of social panic. Paper Rad (Jessica &amp; Jacob Ciocci, Benjamin Jones) presents video and prints inspired by Gumby, Arthur Cloakey&#39;s good-natured cartoon character. Paper Rad situates Gumby in a strangely familiar world where he somehow maintains his sublime spirit.</p> <ul> <li>Funded in part by <span class="caps">NYSCA </span>with a sponsored grant through Harvestworks Digital Media.</li> </ul> </div> http://foxyproduction.com/exhibition/view/326 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 11 - May 19, 2003</div> <div class="exhibition-opening">Opens Friday, April 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/325"><img border="0" src="http://foxyproduction.com/static/dyn-images/34/34112.jpeg" alt="Installation view, Foxy Production, New York" height="348" width="500" /></a> <p><p>Installation view, Foxy Production, New York</p></p> <br /> <div class="exhibition-description"><p><span class="caps">ROB FISCHER</span><br /> <span class="caps">LUIS MACIAS</span><br /> <span class="caps">TERESA MORO</span><br /> <span class="caps">DONNA NIELD</span><br /> <span class="caps">IAN SULLIVAN</span></p> <p>Curated by <span class="caps">ESTER PARTEGAS</span></p> <p>Foxy Production presents <span class="caps">SOFT CELL, </span>an exhibition that invites the viewer to transcend the physical with a series of rearrangements and recreations of the familiar. Spaces that frame and direct everyday experience become portals for taking flight - in, out, above or beyond - offering a temporary refuge where daily dramas, desires and fears can be contemplated.</p> <p>Rob Fischer&#39;s photograph, Untitled (Mirrored House) 2000, portrays a phantom dwelling in desolation. Luis Mac&iacute;as&#39; s lithographic series, A Fine Monday Morning (2000), converts domestic spaces into dysfunctional fantasies. Teresa Moro&#39;s ethereal painting, ParejaAburrida/Bored Couple (2000), erases human presence to reveal the sinister life of ordinary furniture. Donna Nield&#39;s photograph, snowtunnel (2001), at once allows and forbids a path to escapism. Ian Sullivan&#39;s photographic series, Come back to me (2001), presents intimate shelters in generic hotel rooms.</p></div> http://foxyproduction.com/exhibition/view/325 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 28 - April 7, 2003</div> <div class="exhibition-opening">Opens Friday, February 28, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/324"><img border="0" src="http://foxyproduction.com/static/dyn-images/2/2232.jpeg" alt="Installation view, Foxy Production, New York" height="515" width="500" /></a> <p><p>Installation view, Foxy Production, New York</p></p> <br /> <div class="exhibition-description"><p>Foxy Productions presents <span class="caps">SOWA, DAVID NOONAN</span>&#39;s first New York solo show. <span class="caps">SOWA </span>is an installation of prints, sculpture, and film. <span class="caps">SOWA </span>brings a heightened surreality to Noonan&#39;s explorations of horror genre aesthetics. In Sowa: Wallpaper Tile (2002-2003), a gathering of owls appears clone-like on wallpapered prints, creating a baroque and menacing ante-chamber. Owl (2002) is a cast sculpture that could be a film prop, or an otherworldly relic. Sowa (2003), a 16mm film made collaboratively with Simon Trevaks, features a young woman who is slowly drawn into a forest by the magnetic presence of an unidentified force. Drifting in and out of a dream-state, she never reaches her destination.</p></div> http://foxyproduction.com/exhibition/view/324 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 10 - February 16, 2003</div> <div class="exhibition-opening">Opens Friday, January 10, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p><span class="caps">INEZ CABRAL</span> DE <span class="caps">MELO, ELLEN CANTOR, JAMES DAVIS, RACHEL REUPKE, ALBERTO ROBLEST, EDGAR VILLEGAS ESTRELLA, ABBEY WILLIAMS, MATT WOLF</span></p> <p>Foxy Productions presents <span class="caps">VIDEO STORE, </span>an eclectic contemporary video exhibition featuring artists from Australia, Brazil, Mexico, the United Kingdom and the <span class="caps">USA.</span> Artists include: Inez Cabral de Melo, Ellen Cantor, James Davis, Rachel Reupke, Alberto Roblest, Edgar Villegas Estrella, Abbey Williams, and Matt Wolf. Gallery visitors can self-select from a diverse range of engaging video work.</p> <p>Video Store is inspired by the principle of the local video store, where a substantial media collection, appearing largely uncurated, seems able to provide consumers with broad cultural choices.</p></div> http://foxyproduction.com/exhibition/view/323 <p class="news-added">February 24 - April 22, 2012</p> <p><a href="http://www.centre.ch/">www.centre.ch/</a></p> http://foxyproduction.com/news/view/2068 <p class="news-added">February 10 - March 17, 2012</p> <p><a href="http://www.ltdlosangeles.com/">www.ltdlosangeles.com</a></p> http://foxyproduction.com/news/view/2063 <p class="news-added">February 1, 2012</p> <p><a href="http://www.monash.edu.au/muma/exhibitions/index.html">www.monash.edu.au/muma</a></p> http://foxyproduction.com/news/view/2004 <p class="news-added">January 25 – April 8, 2012</p> <p>Opening reception: Thursday, January 26th from 6 - 8pm.</p> <p><span class="caps">ICA</span><br /> Maine College of Art <br /> 522 Congress Street <br /> Portland, Maine 04101</p> <p><a href="http://www.meca.edu/meca-life/campus-resources/ica">www.meca.edu</a></p> http://foxyproduction.com/news/view/1996 <p class="news-added">January 20 – March 11, 2012</p> <p><a href="http://arts.vcu.edu/andersongallery/exhibitions/closed-for-installation-2/">arts.vcu.edu/andersongallery</a></p> http://foxyproduction.com/news/view/1998 <p><a href="http://www.art-agenda.com/reviews/michael-wang%E2%80%99s-%E2%80%9Ccarbon-copies%E2%80%9D/">link</a></p> http://www.art-agenda.com/reviews/michael-wang%E2%80%99s-%E2%80%9Ccarbon-copies%E2%80%9D/ <p><a href="http://foxyproduction.com//static/dyn-files/4/4466.pdf">download file</a></p> http://foxyproduction.com/static/dyn-files/4/4466.pdf