Machines for Suffering opens at the E.M. Bannister Gallery, Rhode Island College, RI
4:00 PM16:00

Machines for Suffering opens at the E.M. Bannister Gallery, Rhode Island College, RI

My solo exhibition Machines for Suffering will open at Rhode Island College’s E.M. Bannister Gallery on Thursday, February 28th.

There will be an artist talk at 4pm and the opening reception will take place from 5-7pm.

RSVP via Facebook here:

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Transfigured opens at C24 Gallery, Thursday January 10
6:00 PM18:00

Transfigured opens at C24 Gallery, Thursday January 10

Jaishri Abichandani, Gabe Barcia-Colombo, Andrea Dezsö, and Sophie Kahn

January 11th through February 23, 2018
Opening Reception on Thursday, January 10 from 6pm - 8pm

C24 Gallery is pleased to announce its upcoming exhibition, Transfigured. David C. Terry’s second exhibition as Artistic Director and Curator represents a transition towards the future, embracing the gallery’s place in the artistic landscape of New York City. Transfigured features four prolific, New York-based artists: Gabriel Barcia-Colombo, Sophie Kahn, Andrea Dezsö, and Jaishri Abichandani. The exhibition will run from January 10th to February 23rd, 2018. An opening reception will be held on January 10th from 6 to 8pm.

The title Transfigured refers to C24 Gallery’s evolution as an art establishment, while also referencing the exhibition’s figurative work by artists who push their media to its fullest potential, in a wholly transformative manner. Terry has long worked with each featured artist and recognizes their dialogue with one another as an homage to the New York’s art world.

Originally from four different continents, (Kahn, Australia; Dezsö, Romania; Abichandani, India; and Barcia-Colombo, the United States), these artists represent the wealth of artistic voices New York City has to offer. Each artist is affiliated with the New York Foundation for the Arts and has contributed to New York’s artistic community in a variety of modes; Barcia-Colombo teaches at NYU, Kahn formally taught at Pratt in the Department of Digital Arts, Abichandani founded the South Asian Women’s Creative Collective in New York, and Deszö’s public art is featured by both the City University of New York and the Metropolitan Transportation Authority.  

As much as Transfigured's artists have been drawn together by the city, their works are connected by interwoven themes. Barcia-Colombo and Kahn use their work to engage with technology and the increasing digitization of our identities. Barcia-Colombo works in video installation and interactive sculpture, and Kahn creates through a process of 3D scanning and printing. Kahn’s work directly references photographic documentation of female hysteria patients in an exploration of the construction and demolition of the female form and psyche. The content of those works relate directly to Abichandani’s sculptures, which elevate the female form to a place of divinity while exposing the archaic ideology that has resulted in black trans women being subjected to systemic violence and extraordinary rates of murder. Abichandani’s bright colors and mythic imagery complement Dezsö’s fantastical and paracosmic mixed media paintings, drawings, and embroidery.

Transfigured displays four artists who transcend the boundaries of their medium. Each of them fearlessly and unapologetically tackles issues of human sexuality and psyche as well as societal norms and ills, both immersively and transformatively.

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Out of Body opens at bitforms gallery, Saturday October 27th
5:30 PM17:30

Out of Body opens at bitforms gallery, Saturday October 27th

I am excited to present a new, life-sized sculpture in the exhibition Out Of Body, opening next week at bitforms gallery nyc.

Click here for full event details.

"Out of Body: Sculpture Post-Photography" 
Co-curated by Claudia Hart and Susan Silas.
October 27 – December 2, 2018

Opening reception: Saturday October 27, 6 – 8 PM
Gallery hours: Wednesday – Saturday, 11 AM – 6 PM & Sunday, 12 – 6 PM

bitforms gallery is pleased to present "Out of Body: Sculpture Post-Photography" co-curated by Claudia Hart and Susan Silas. This exhibition will feature five women artists who create sculpture using production techniques emerging from simulations technologies. Stephanie Dinkins, Claudia Hart, Carla Gannis, Sophie Kahn and Susan Silas engage issues of sexuality, the body, and identity during the current paradigm shift, in which conceptions of reality and authenticity are called into question as the dominant means of production is moving from photographic capture toward computer simulation. 

The works in the exhibition are representations of the female form, destabilized, decayed, crystallized, roboticized, consumerized, or strangely hyper-realized beyond what the eye can see or the camera can index. They represent an evolving consciousness, expressing the possibilities of advanced technologies such as artificial intelligence, virtual reality, 3D scanning, rapid prototype printing, and augmented reality. Sculpture, photography and video no longer adhere to their past definitions; instead they become new hybrid forms whose plasticity mirrors the fluidity and mutability they seek to represent. 

"Conversations with Bina48" by Stephanie Dinkins features a series of video interviews the artist conducts with a black humanoid robot said to be capable of independent thought and emotion. The two have discussed family, racism, faith, consciousness, loneliness, knowledge, age, and robot civil rights. Their conversations have been entertaining, frustrating, surprisingly humorous, philosophical, and, at times, absurd. 

Claudia Hart’s "Alice Unchained" is a virtual reality environment designed for the Vive platform, that can be accessed inside a physical room in the gallery, wallpapered and carpeted with decorative patterns. Motions captured from choreographer Kristina Isabelle and professional wrestler Isaias Velazquez have been combined into a single avatar, visible within the virtual reality environment. Hart imagines them as cyborg, a virtual performance beyond gender. A similar hybridity has been integrated into the score, in which drummers follow a digital click-track of computer generated sound. 

In "Origins of the Universe" Carla Gannis references both Gustave Courbet’s provocative nineteenth century painting "L’Origine du monde" and the contemporary fad of 3D printing sculptural holders for smartphones. Gannis depicts a nude woman lying on a bed, her legs splayed open and wrinkled sheets covering her face and upper torso. A monolith-like iPhone is placed between her thighs.

"Machines for Suffering I", is the result of Sophie Kahn’s ongoing investigation into female hysteria, a once-prevalent but now-discredited medical diagnosis. At the Salpêtrière hospital in nineteenth-century Paris, doctors developed charts and photographs that described poses supposedly typical of hysteria. Kahn used these documents to choreograph a group of dancers to reenact the poses for a 3D scanner and then 3D printed the fragmented scans that resulted. The final sculptures incorporate intricate scaffolds which serve to support the fractured bodies, suggesting a woman whose body, or psyche, is subject to a process of construction or demolition.

"AGING VENUS" by Susan Silas is a contemporary iteration of Greek classical sculpture using the artist’s aging body as the model. The creation of this sculpture began with a 3D scan of her body, which has served as a reference for a number of photographic and sculptural works. The sculpture in this exhibition was cut from Italian Sivec white marble and finished by hand. The artist worked with Garfagnana Innovazione in Gramolazzo, Italy, using their high performance 3D scanner and a precision anthropomorphic robot. 

In this era, exemplified by the #MeToo movement, women seek autonomy and reject the constraints of male-defined femininity and sexual binaries, ideas which have been historically employed to oppress them. As Donna Haraway urged in her canonical "Cyborg Manifesto," women should move beyond old binaries and create other identities for themselves. Simulation technology enables an expression of less rigid identities and bodies, an impulse these artists share. "Out of Body: Sculpture Post-Photography" pushes back against the phallocentric, masculinist attributes produced by the tech industry and engineering culture.

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