ARTIST PROJECT: Dana Lok

"Tilted Bather, ink", ink on paper, 18" x 24", 2014

“Tilted Bather, ink”, ink on paper, 18″ x 24″, 2014.

"Tilted Bather", oil on canvas, 70" x 79", 2014

“Tilted Bather”, oil on canvas, 70″ x 79″, 2014

 "Rubbing, Lunch", charcoal and graphite on paper, 25" x 31", 2014

“Rubbing, Lunch”, charcoal and graphite on paper, 25″ x 31″, 2014

Traditionally a painting treats you to the most expensive seats in a theater, and you have an optimal point of view of the scene. This series of drawings and paintings entertains the idea that you might get a seat that’s off to the side. Elements of the set might be misaligned, you might glimpse the actors before they’re ready to perform, or you might realize something you thought was round is actually flat. Manet’s Le Dejeuner sur l’herbe encompasses a pivotal point in art history when pictures began to address their own flatness. Critics originally balked at Manet’s flimsy figures—they seemed to have the volume of a playing card. Stepping inside this iconic painting gives me the opportunity to illustrate quite literally the contradictions of deep pictorial space and flat picture planes, and pull out new narratives in the process.

Text by Dana Lok

ARTIST PROJECT: Hung by Brie Ruais

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Begin with 134 pounds of clay. On the floor, spread this clay out radially from a central mound.

BRuais_hung2Spread the clay to a thickness of ¾ – 1 inch until a large flat circle is formed.

BRuais_hung4Screw a wooden wedge to the wall, about 3 feet high.

BRuais_hung3Gather the clay circle like a towel or a coat and hang it on the wall-mounted wedge.

BRuais_hung5*If it is not possible to lift the material up to the wedge, lower the wedge.

BRuais_hung6Repeat the previous step until the material is hung, even if it drapes onto the floor.


*Mid-performance script modification.

Brie Ruais
Hung, 2014
Images and text

Brie Ruais (b. 1982, Southern California) received her MFA from Columbia University’s School of the Arts in 2011 and lives and work in Brooklyn, New York. Her work has been exhibited at Nicole Klagsbrun, New York; Marc Selwyn Fine Arts, Los Angeles; Lefebrve & Fils Gallery, Paris; Fused Space, San Francisco; Cooper Cole, Toronto; Halsey McKay, East Hampton; Xavier Hufkens, Brussels; The Horticultural Society, New York; Salon 94, New York; and The Abrons Arts Center, New York, among others. On the occasion of her solo show, Nicole Klagsbrun published Ruais’ artist book XO, which includes resource images and a conversation with Sarah Sze. Her work has been discussed in The New York Times, ArtNews, Modern Painters, Artforum, The New Yorker, Bomb, Artsy, TimeOut, and Architectural Digest. Ruais is the recipient of The Socrates EAF Fellowship, The Shandaken Project Residency, the Anderson Ranch Ceramics Residency, and the Abrons Arts Center Residency. Recent projects include a twoperson show with artist Anna Betbeze at Marc Selwyn in Los Angeles, and a unique edition of Affirmation Pots for the 2015 Bronx Museum Gala. In collaboration with Nicole Klagsbrun, Ruais will open a solo exhibition at Untitled, New York City, in April 2015.

View more works by Brie Ruais here.

ARTIST PROJECT: Ilana Harris Babou

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IlanaInterventions3

Above and below: Ilana Harris Babou, Excerpts from Untitled, 2014. HD video, Max/MSP and Processing software.

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Click the images or here to try additional excerpts from Untitled.
View more works by Ilana Harris-Babou at ilanahb.com.

Ilana Harris-Babou’s video works foreground the ephemeral activity of studio experimentation, weaving footage of spilling acrylic paint, wrinkled cellophane, and scattered chunks of foam with excerpts from music videos. Harris-Babou disentangles and isolates the tropes of contemporary music videos, such as dissolving light, rapid editing, and dramatic camera lenses, redirecting these intoxicating effects onto inexpensive materials. Embedded in her experiments with glamorizing strategies is an examination of the time of the illusory, as objects disappear from the screen before revealing their genuine textures. Syncing her visuals to looping quotations of popular music, Harris-Babou further transforms pop culture into raw material. Familiar beats become ambient as they repeat alongside video of richly lit material and autotelic play. Harris-Babou’s recent project, a developing iPad program, orchestrates a synchrony between the tactile and the visual. With the touch of the viewer’s finger, the pacing of Harris-Babou’s manipulation of opulently lit material can accelerate and slow. The duration of the video becomes elastic, expanding and contracting at the agency of the viewer.

Text by Katherine Siboni (MODA 2015)