Film still with Julian Dashper

Starting August 26, 2010, on YouTube, you can view the film My Space, by Simone Horrocks & Richard Flynn with Julian Dashper.

Early in 2008, Dashper approached film makers Simone Horrocks and Richard Flynn, with the idea of collaborating on a film project. It was important to Dashper that we remain open to where the filming might take us, but together we agreed that the film in some way would be : ‘A meditation on the meaning of success and failure in an artist’s life’.

We filmed with Dashper between June and October 2008, as he travelled between Auckland, Sydney and Chicago. It was Dashper’s wish that my space would premiere on YouTube.

Work by Richard Roth

June 27 – September 10, 2010

Installation view

July 31 – August 21, 2010
By appointment

Sara Schnadt is a Chicago-based performance/installation artist. Raised on an international commune in Scotland, an ‘alternative’ context which considered itself as a social experiment outside of conventional culture, she spent formative years understanding herself as an outsider, an observer. Since moving to the United States in 1986, Sara has become fascinated with the unifying rituals and values that are common threads in contemporary western culture, and has made work that frames and resonates with those common threads.

Formally, Sara makes performance and installations that use task, found objects, interactivity, projection, and movement derived from common gestures. Her work creates environments that shift the audience regularly from spectator to participant as the performer constantly moves between pedestrian and more stylized or evocative activity and the viewer negotiates spacial immersion in the work.

Works often take shape as installations and live activities that translate data visualizations of large quantities of socially-resonant information into material, gestural and poetic form.

Network, Domestic Intervention

Since November 2009, site-specific versions of Network have been created in Chicago for an unused store front downtown and a gallery space at Hyde Park Art Center. For What it is, a version of Network will be created to inhabit the entire house that is the project space and artists’ live-work space and extend out into the garden.

Visualizing the idea that we simultaneously live in a real and virtual world, and that the virtual is infinitely expansive, Network uses large quantities of electric yellow twine (tied in patterns based on both social network structures and Internet network infrastructure) to suggest a virtual network landscape cutting through an otherwise ordinary space.

Artists/curators/residents Tom Burtonwood and Holly Holmes will also live with the work in their home for a month, negotiating their routines around it. A series of photographs will document their activity for the project catalog.

Sara Schnadt is a Chicago-based artist working in new media, installation and performance art. She has shown her in work in Chicago at Hyde Park Art Center, Pop-Up Art Loop temporary gallery series, 12×12: New Artists New Work at the MCA Chicago, Looptopia, the Site Unseen Performance Festival, Balloon Contemporary, and at Antena Gallery. National and international shows include Exchange Rate public projection series in LA and New York, Upgrade! – Chain Reaction in Skopje, Macedonia, CINEA Paris, FreeManifesta in Frankfurt, and the Busan Biennale in Busan, South Korea.

View more installation photos here.

Installation view

May 14 – June 19, 2010

Rocket presents new paintings from the ‘Black Circle’ series by the Chicago-based artist, writer and curator Michelle Grabner. This is Grabner’s fifth exhibition at Rocket.

Michelle Grabner, Untitled, 2010
Black gesso & silverpoint on 300lb Arches hot press paper
30 x 22 inches

March 27 – May 1, 2010

MINUS SPACE is delighted to announce a new exhibition of drawings by Chicago-based artist Michelle Grabner. Grabner works primarily in painting, drawing, and printmaking, and her practice is commonly organized around straightforward mathematical systems.

For her exhibition, Grabner will present a new series of drawings made from black gesso and silverpoint on heavyweight paper. In contrast to her other work, Grabner thinks of her drawing practice as “purely playing — it’s curiosity.” She continues saying, “The drawing just has to be executed, I have to play through it. I’m working on a lot of silverpoints right now; they’re not painting, but in their presence, I see them as an extension of painting.”

Michelle Grabner has exhibited her work extensively, including in North America, Europe, and Australia. Her work has been presented at museums, such as the Milwaukee Art Museum (WI), Kunsthalle (Bern, Switzerland), Musee d’Art Moderne Grand-Duc Jean (Luxembourg), Museum of Contemporary Art (Chicago, IL), Smart Museum (Chicago, IL), Mary and Leigh Block Museum (Evanston, IL), Naples Museum of Art (Naples, FL), Ulrich Museum (Wichita, KS), and Tweed Museum of Art (Duluth, MN).

Her work has been reviewed widely and is included in the collections of the Museum of Contemporary Art (Chicago, IL), Musée d’Art Moderne (Luxembourg), Milwaukee Art Museum (WI), Daimler Art Collection (Berlin, Germany), and Smithsonian American Art Museum (Washington, DC).

Michelle Grabner is also a professor and chairperson of the Department of Painting and Drawing at The School of the Art Institute of Chicago. She holds an MFA in Art Theory and Practice from Northwestern University in Chicago, and an MA in Art History and BFA in Painting and Drawing from the University of Wisconsin in Milwaukee.

In addition to her artistic work, Grabner and her husband, artist Brad Killam, founded and direct The Suburban, a very well regarded, experimental exhibition space in Oak Park, Illinois. Grabner has also written extensively for publications, such as ArtForum, Modern Painters, Frieze, and X-tra.

In collaboration with MINUS SPACE, Grabner recently organized the online VIEWLIST project There are many things in the air and all of them are for free, published in May 2009. Her work was also included in the group exhibition Open House for Butterflies at MINUS SPACE in August 2009.

A comprehensive interview with Michelle Grabner by Saul Ostrow appears in the March 2010 issue of Art in America magazine.

SUPPORT
MINUS SPACE’s programming is made possible by the generous support of The Golden Rule Foundation, as well as individual donors. We thank you!

MINUS SPACE
98 4th Street, Buzzer #28, Brooklyn, NY 11231
between Hoyt + Bond | Carroll Gardens / Gowanus
Hours: Fridays & Saturdays, 12-6pm
> directions

Installation view

The Lesley Heller Workspace is pleased to present The Wells Street Gallery Revisited: Then and Now, an exhibition organized by guest curator Jason Andrew, featuring the work of artists associated with The Wells Street Gallery, one of Chicago’s vanguard galleries of the late 1950s.

On exhibition will be works from the Wells Street Gallery period (1957-1959) as well as examples of recent work by a majority of the original artists associated with the gallery including: painters Richard Bogart, Ernest Dieringer, Judith Dolnick, Robert Naktin, Ronald Slowinski, Naomi Tatum, Gerald van de Wiele, Donald Vlack, sculptor John Chamberlain, and photographer Aaron Siskind.

The Wells Street Gallery Revisited: Then and Now is the first exhibition of it’s kind, uniting the tough gang of young Chicago abstract artists who together ran the Wells Street Gallery from 1957-1959. They were “a band of young, fire-eating vanguard artists,” wrote the prominent art critic Franz Schultze in Art News, and the gallery was tagged “an avant-garde exhibition place filled with the most advanced abstractions in town,” by the Chicago Sunday Tribune.

The Wells Street Gallery played a major role in granting young artists like sculptor John Chamberlain and painter Robert Natkin their first one-person exhibitions at a time when too few galleries in Chicago, or elsewhere for that matter, where interested in the work of abstract artists. This exhibition pays tribute to this artist-run gallery and the brief yet historic contribution it made in advancing abstract art in Chicago.

“The Wells Street Group,” as they were called, were “sewn together by a plucky and often exciting lot of young painters,” wrote Franz Schultze. The group’s colorful, vigorous, nonobjective and non-representational expressive paintings were distinguishable from the “Monster Roster” of Chicago expressionists, lead by Leon Golub and Nancy Spero, and the Bauhaus-influenced formalists, leading critics to consider them the counterpart to the New York School of abstract expressionist calling them the new “Chicago School.”

Jason Andrew is an independent curator and archivist. A prominent figure in the Bushwick art scene, Andrew is the founding director of Norte Maar, which encourages, promotes and supports collaborations in the arts. Guarding against any special interest in any particular style or genre, his curatorial projects bridge gaps left in art history and reflect the creative imagination of the past, present and future. Recent curatorial projects include the retrospective exhibition Jack Tworkov: Against Extremes / Five Decades of Painting, and the new paintings by young painter Brooke Moyse.

January 24 – February 24, 2010

The Suburban is pleased to present The Suburban, a solo exhibition by artist Ethan Greenbaum. Greenbaum’s work is concerned with architectural and cultural blank spots. He frequently uses ubiquitous sites like sidewalks or printer paper as his subject matter. Removing these sources from a functional context, he manipulates them to open new associative possibilities. For the exhibition, Greenbaum will be installing objects and architectural modifications that engage with the multiple public and private spaces of The Suburban.

The Suburban emblem is repurposed as both show title and window display. Removing the name from the logo, the artist prints the resulting symbol on adhesive vinyl. Hung in the upstairs window, the design suggests commercial signage or a pictograph of a crossed out zero. Continuing this play with negation and substitution, the main gallery entrance is locked; viewers must enter through an open garage door. Inside, an entrance has been cut in the wall that separates garage from exhibition space.

The gallery walls are covered with A1 sheets of paper printed with lorem ipsum, a nonsensical filler text used in graphic design as a placeholder. Devoid of information, these blocks of text create an opaque barrier, stacked floor to ceiling like bricks. On the floor Greenbaum has built a low wall of cinder blocks covered in plasticine. Traditionally used as a material for model-making, the gray plasticine forms a thin surface that paradoxically obscures and reproduces the blocks as unique objects. This makeshift partition stretches across the room, simultaneously framing and preventing access to one half of the gallery. Acting as both wall and window, the partition echoes material and linguistic equivalents created throughout the show.

Ethan Greenbaum is a New York based artist. He graduated with an MFA from Yale in 2005. Selected exhibition venues include Anna Kustera, NY, Circus Gallery, LA, Shenghua Arts Center, Nanjing and Gallery SATORI, NY. He is also a co-founder and editor at the online arts journal, thehighlights.org.

Laszlo Moholy-Nagy, A 19, 1927
Oil on canvas, 80 x 96 cm
Courtesy Hattula Moholy-Nagy

October 8, 2009 – February 7, 2010

The Hungarian artist László Moholy-Nagy (1895–1946) became known in Germany through his seminal work as a teacher at the Staatliches Bauhaus in Weimar and Dessau (1923–1928) under Walter Gropius’s direction. Taking responsibility for the preliminary course and the metal workshop, he decisively informed the Constructivist and social reorientation of the Bauhaus. Interlinking art, life, and technology and underscoring the visual and the material aspects in design were key issues of his work and resulted in a modern, technology-oriented language of forms. His pioneering theories on art as a testing ground for new forms of expression and their application to all spheres of modern life are still of influence today. Presenting about 170 works – paintings, photographs and photograms, sculptures and films, as well as stage set designs and typographical projects – the retrospective encompasses all phases of his oeuvre. The exhibition at the Schirn also presents the Raum der Gegenwart (Room of Today), which offers a concise summary of Moholy-Nagy’s work and has not been built before 2009.

No other teacher at the Bauhaus, nor nearly any other artist of the 1920s in Germany, developed such a wide range of ideas and activities as Moholy-Nagy. His oeuvre bears evidence to the fact that he considered painting and film, photography and sculpture, stage set design, drawing, and the photogram to be of equal importance. He continually fell back upon these means of expression, using them alternately, varying them, and taking them up again as parts of a universal concept whose pivot was the alert, curious, and unrestrained experimental mind of the “multimedia” artist himself. Long before people began to talk about “media design” and professional “marketing”, Moholy-Nagy worked in these fields, too – as a guiding intellectual force in terms of new technical, design and educational instruments.

In spite of his manifold activities and inventions in the sphere of so-called applied art, Moholy-Nagy by no means advocated abolishing free art. Before, during, and long after his years at the Bauhaus, he produced numerous paintings, drawings, collages, woodcuts, and linocuts, as well as photographs and films as autonomous works of art. Like his design solutions, his works in the classical arts, in painting and sculpture, also reveal his aesthetically and conceptually radical approach. He also pursued new paths with his famous Light-Space Modulator of 1930, conceiving his gesamtkunstwerk composed of color, light, and movement as an “apparatus for the demonstration of the effects of light and movement.” It was equally new territory he conquered in the fields of photography and film: considering his cameraless photography, his photograms, and his abstract films, Moholy-Nagy must still be regarded as one of the most important twentieth-century photographers and key figures for today’s media theories.

Thanks to his experiments with photography and the photogram, László Moholy-Nagy was one of the first typographers of the 1920s to recognize the new possibilities offered by the combination of typeface, surface design, and pictorial signs with recent photographic techniques. As a Bauhaus teacher for typography, he designed almost all of the 14 Bauhaus books published between 1925 and 1929 and – besides co-editing them with Walter Gropius – took care of the entire presentation of the books’ contents and their production.

After he had left the Bauhaus in 1928, he founded his own office in Berlin, where he, among other things, developed advertising solutions for Wilhelm Wagenfeld’s designs for the Jena Glassworks. Faced with the Nazis’ seizure of power, Moholy-Nagy emigrated to the United States and founded the New Bauhaus in Chicago in 1937 and, after it had been closed, the Chicago School (and later Institute) of Design in 1939. László Moholy-Nagy died in Chicago in 1946.

Zak Prekop, Untitled, 2008
Pen and paper on canvas
25 3/4 x 23 3/4 inches

September 9 – October 18, 2009

Lisa Cooley Gallery presents a two-person exhibition of abstract paintings by two artists, Jon Pestoni, from Los Angeles, and Zak Prekop, from Chicago.

The paintings of Jon Pestoni and Zak Prekop have clear affinities – their separate practices arise from a conceptual foundation, but are executed with intellectual playfulness, subtlety, lightness and lyricism. Both artists are highly aware of art historical precedent and yet aim for the discovery of unique forms. Both bodies of work deliver formal investigations with a critical edge.

Neither figurative, nor purely abstract, Jon Pestoni’s paintings are imbued with an experiential quality. They highlight paint application, materiality, rich color schemes, and occasionally, blunt, aggressive brushwork. His work is explicit and avoids visual pretense in a direct, immediate way. Scale and color shift subtly from work to work, revealing the internal logic of Pestoni’s practice and contextualizing each individual painting.

In certain works, wide, dragged brushstrokes create thick horizontal bands across prepared grounds. Pestoni sometimes contrasts these severe strokes with small, lyrical surface marks and lines, adding yet another layer to the work. Such contrasting moves address the heavy ground beneath and imbue the painting with a decorative but opposing tension.

Pestoni’s work plays with ideas of negation. The artist might seem to deny the viewer access to the “interior” of the work, but in fact he is playing with the trope of deriving pleasure from inaccessibility, thereby amplifying awareness of the work’s materiality and nuance. Pestoni pushes the act of building up and breaking down, painting something in and painting something out, unifying this practice into a single picture. In short, much of the activity in these paintings is the work of erasing the work. By investigating disappearances, the paintings become evidence of a process and saturated with visual and indexical meaning.

Collage and pencil drawing spark the composition of Zak Prekop’s oil paintings. The artist uses these two non-painting mediums to create the nuanced structures, the destabilized geometry, the rambling, gestural creases and the shallow, color-filled ridges that characterize the surface of his paintings.

This approach yields a range of pictures, some of which are more about drawing, others more about painting. Some pictures combine both ideas, emulating collage to create an illusion of torn paper within the underpainting. Other incongruities are evident – torn paper and quick marks suggest immediacy, but Prekop’s creamy paint application and subdued palette evoke a contemplative, slow reading. His layers of color range from translucent to opaque, but always retain a striking luminosity.

Prekop’s paintings are notable for their levels of refinement, interiority and sincerity. Even in his larger canvases, the artist conjures an intimate experience for the viewer. Diagetic, almost invisible marks reveal themselves only when viewed at certain angles while the quality of the artist’s lines feel introspective and meandering. Reinvesting seriousness and the personal into tropes of abstraction, Prekop creates a new form of subdued and cerebral non-representational painting.

Jon Pestoni lives and works in Los Angeles. He received his BA in Art from UC Berkeley in 1992 and his MFA from UCLA in 1996. His paintings were included in The White Columns New York Annual 2008, curated by Jay Sanders. His work has also been exhibited in New York at Leo Koenig Inc and Marianne Boesky Gallery as well as at Galerie Parisa Kind in Frankfurt, Germany. Since 2005 he has lectured in Studio Art at UC Irvine, UCLA and UC Riverside. Upcoming exhibitions include a two-person show with Shane Campbell Gallery in Chicago.

Zak Prekop lives and works in Chicago, where he also received his MFA from The School of the Art Institute of Chicago in 2008. He is currently studying at the Staatliche Hochschule für Bildende Künste, Städelschule in Frankfurt, Germany. He has recently exhibited at Shane Campbell Gallery in Chicago and Roger Björkholmen Galleri, Stockholm, Sweden.

September 20 – October 25, 2009

The exhibition project `SUBSTANCE (for Julian)`, at The Suburban, Chicago aims to inform the viewer about two issues addressed as parallel realities of perception – on one hand the notion of a profound play with the qualities of the existing space and simulteanous, the memory of fellow artist Julian Dashper who passed away about six weeks ago and who also exhibited at The Suburban in 2008.

Julian Dashper’s work is speaking to us on a highly conceptual level about abstraction within the perimeters of reductive art-making , yet not to forget the wit and humor underlying his oeuvre. As his passing away coincided with me making plans for the upcoming exhibition at The Suburban, the idea formed to commemorate his influence and strength as an friend, artist and collaborator and to some degree integrate my understanding of his work into this site-specific installation, which at bthe same time reflects on thoughts occurring in my very own work-process; a dialogue, visual and in thought.

This site-specific installation does not intend to comment on Julian Dashper`s achievements, but rather tries to merge with mutual thoughts and shared discussions surrounding the subject of abstract art on various levels, I enjoyed with Julian Dashper and last not least our various points of departure.

The work produced and conceived for The Suburban aims to reflect on the substance of given space . By means of materiality and colour this intervention proposes an interaction of volume and proportion addressing the characteristics of given space.

The exhibition will be accompanied by a sound piece Julian Dashper conceived for the exhibition “2-step,” organized by CCNOA in Brussels in 2003 and an artist book which I will publish on this occasion.

Tilman is an artist and the artistic Director of Center for Contemporary Non-Objective Art (CCNOA) in Brussels.

Ree Morton, Line Series, 1974
Watercolor, crayon and pencil on paper
22 1/4 x 30 inches
Estate of Ree Morton

September 18 – December 18, 2009

The Drawing Center presents an exhibition of the work of the late American artist Ree Morton (1936–1977). The exhibition highlights Morton’s influential body of work, remarkably all produced between her decision to turn to art full-time in the late 1960s and her tragic death in an automobile accident shortly before her 41st birthday. While reflecting many of the currents of Postminimal and Conceptual art of the 1970s, Morton’s work also looked to a pioneering use of personal narrative, intimacy, humor, and poetic imagination. Yet the scope of her artistic production remains largely unrecognized, as does her vital contribution to feminist art practice and the importance of drawing to her development as an artist. Repetitive, minimal forms in Morton’s early work lead to more biographically tinged mark-making, ranging from abstracted diagrams acting as topographies of memory to botanical illustrations and decorative motifs. A marked interest in phenomenology, spatiality, kitsch, and the emotive potential of materials is merged in Morton’s later work, her sculptural practice presaging the formal vocabulary and theatricality of later installation art. The exhibition is comprised of a selection of major drawings, several of which will be on view for the first time, along with drawing-based sculptural works and a selection of notebook sketches. Curated by João Ribas, the exhibition takes its title from a T. S. Eliot poem Morton kept above her studio desk.

Born in Ossining, NY in 1936, Ree Morton died tragically in a car accident in 1977 in Chicago. She first studied nursing, then married and had three children before completing her BFA at the Rhode Island School of Design (1968) and her MFA at Tyler School of Art, Philadelphia (1970). During her lifetime, her work was exhibited at the ICA (Philadelphia), Artists Space and the Whitney Museum (both New York) among other venues. She was the subject of a 1980 retrospective at The New Museum and solo exhibitions at the Guggenheim Museum in New York (1985) and Generali Foundation in Vienna (2008). Morton’s work has been included in numerous group exhibitions, including High Times, Hard Times: New York Painting 1967–1975 (organized by iCI), and the WACK! Art and the Feminist Revolution, The Museum of Contemporary Art, Los Angeles (2007).

July 31 – August 29, 2009

We are pleased to announce our summer group exhibition Open House for Butterflies featuring work by seven international reductive artists.

Participating artists include:

Justin Andrews (Melbourne, Australia)
Hartmut Böhm (Berlin, Germany)
Michelle Grabner (Chicago)
Daniel Göttin (Basel, Switzerland)
Gilbert Hsiao (Berlin, Germany / NYC)
Victoria Munro (NYC / Auckland, New Zealand)
Karen Schifano (NYC)

We are also delighted to announce our new flatfiles and bookstore. Our flatfiles feature works by select reductive artists working around the globe, including drawings, prints, photographs, works on paper, editions, and multiples. Some paintings, sculpture, and design objects are also available. Our bookstore features dozens of publications on reductive art and ideas on the international level, including artist monographs, exhibition catalogs, journals, ephemera, and select vintage books.

SUPPORT
MINUS SPACE’s programming is made possible by the generous support of The Golden Rule Foundation, as well as individual donors. We thank you!

MINUS SPACE
98 4th Street, Brooklyn, NY 11231
between Hoyt + Bond | Carroll Gardens / Gowanus
Hours: Fridays & Saturdays, 12-6pm
Directions

Opens June 7, 2009

VIEWLIST is MINUS SPACE’s new online project space where we invite artists and others to curate a visual essay of images. VIEWLIST exhibitions are experimental and usually thematic, and can include art works spanning various time periods, movements, and geographic locations. Exhibitions may also include ideas and images from disciplines outside of the visual arts. With VIEWLIST, we’ve created a venue that focuses exclusively on ideas, a kind of idealized curatorial space, where exhibition budgets, loans and acquisitions of art works, timelines, and all other logistics are set aside.

Our second viewlist exhibition is conceived by Chicago-based artist Michelle Grabner. Michelle is a Professor in the Painting and Drawing Department at The School of the Art Institute of Chicago. In 1997, she co-founded, along with her artist and partner Brad Killam, The Suburban, an artist project space in Oak Park, Illinois. She is also a regular contributor to X-TRA Contemporary Art Quarterly. Her work is represented by Rocket Gallery, London; Shane Campbell Gallery, Chicago; Green Gallery, Milwaukee; and Gallery 16, San Francisco.

There are many things in the air and all of them are for free
Conceived by Michelle Grabner

“So I think what comes next is a web with big holes blown in it. A spiderweb in a storm. The turtles get knocked out from under it, the platform sinks through the cloud. A lot of the inherent contradictions of the web get revealed, the contradictions in the oxymorons smash into each other.” — Bruce Sterling, February 2009

Fiscal exigencies have bestowed artists with promising new freedoms. No longer charged with the aim to develop tamped spoils for the voracious speculative collector, many artists are once again examining the formal dimensions of three-dimensional space.

In photography this can be seen in the renewed and enthusiastic interest in abstraction. The exploration of the darkroom’s technical limitations and its structural truths are once again concretizing photography.

The superabundance of ceramics and cast-metal objects weighing on gallery pedestals of the recent years has given way to boundlessness. Untying gravity and provoking physical space is being ushered back into the formalist’s syntax as traditional measures of object value have broken down.

Unlike the contemporary accretion work that engages in synthetic concepts of space, the works included here actively invent spatial relations, experiment with organizing structures and choreographing movement. Accumulation and collection practices — many of which were aptly featured in the New Museum’s “Unmonumental” exhibition — are acts of imitation, a superfluous and redundant practice mirroring web navigation and digital information gathering: web 2.0 assemblage.

“There are many things in the air and all of them are for free” is the title of a loopy wire sculpture by Diango Hernández that is currenty on display at the Abteiberg Museum in Mönchengladbach. I have adapted this title for my purposes as it locates value while poetically summoning the progressive fact that three-dimensional space is new again.

Look up.

Opens May 3, 2009

Installation view

March 28 – May 9, 2009

James Welling, FH_6416, 2006
Chromogenic print, 12 x 15 inches

Opened September 21, 2008

Don Voisine, Standard, 2007
Oil on wood, 11 x 11 inches

June 13 — August 2, 2008

Thomas Robertello Gallery presents Unpainted – Recent Abstract Painting. Participating artists include Patrick Berran, Laura Fayer, Callum Innes, Bob Jones, Jim Lee, Stephanie Serpick, and Don Voisine. Each artist in this group exhibition proves that abstract painting can continue to provide a vital and necessary voice, visually, conceptually, and aesthetically. Expanding boundaries and defining what a painting can be, the artists reveal that beauty, purity of concept, design, intelligence, and visually compelling treatment of the medium have much to offer in the present.

April 27 — June 5, 2008

The Suburban presents four new projects: Lars Wolter, Dan Walsh, Andrea Zittel and The Smockshop, & The John Riepenhoff Experience presents Sarah Clendening Sculptures.

February 29 — April 12, 2008

Installation view with work by MINUS SPACE artist Manfred Mohr at left

January 17 — April 6, 2008

Examining the intersection of digital technology and the graphic arts, Imaging by Numbers surveys the use of computers in printmaking and drawing through approximately 60 works created by nearly 40 North American and European artists from the 1950s to the present. Space, Color, and Motion presents time-based computer artworks by four artists exhibited in the exhibition Imaging by Numbers: A Historical View of the Computer Print — Jean-Pierre Hébert, Manfred Mohr, James Paterson, and C.E.B. Reas. These works explore computer-generated motion, an important aspect of computer art not featured in Imaging by Numbers.

National Institute of Standards and Technology reflectance standard (left), 
a sample of the new darkest material (center), and a piece of glassy
carbon (right), taken under a flash light illumination

Chicago — U.S. researchers said they have made the darkest material on Earth, a substance so black it absorbs more than 99.9 percent of light. Made from tiny tubes of carbon standing on end, this material is almost 30 times darker than a carbon substance used by the U.S. National Institute of Standards and Technology as the current benchmark of blackness. And the material is close to the long-sought ideal black, which could absorb all colors of light and reflect none…

December 8-30, 2007

A web developer and performance installation artist, Sara Schnadt is creating a network built from an impressive quantity of vividly-colored found and donated fiber material (string, thread, twine, and wire) that represents the “new collective activity” of creating and sharing information online. She will be performing in the gallery for three days a week to plot the network onto and between two large maps across the space. One map shows a massive array of text including search terms and text fragments from hundreds of searches, while the other offers a geographic overview of global internet access.

Paul Kelpe, Untitled, c. 1928
Watercolor and collage on paper
11 3/4 x 7 3/8 inches 

September 8 — October 27, 2007