|
April
22 -
June 18, 2006 |
 |
|
E.V.
Day
Intergalactic Installations
Like the recesses of deep
space, in April 2006, CAF’s will be transformed
into a dark, cosmic extent—punctuated with
two large-scale sculptures glowing in green. E.V.
Day’s exhibition
at Santa Barbara
Contemporary Arts Forum, Intergalactic
Installations, presents
three suspended sculptural installations that synthesize
the history of Cold War technology, the design aesthetics
NASA prototypes, and a post-feminist super-woman
discourse to suggest the potency of that which is
elusive, obscured or mysterious. |
EV Day
Stealth, 2003
8.5’ x 6’, Edition of 3
Green and clear monofilament and fishing tackle under
blacklight
Courtesy the Artist and Carolina Nitch Contemporary
Art, New York, NY
|
In Stealth and Black
Hole, Day employs monofilament and hardware
to render her subjects in a style reminiscent of
blueprints, engineering drawings and CAD renderings.
Stretching from gallery floor to ceiling, these glowing
works seem to hover above the gallery space—an
apropos depiction of two scientific marvels that
drift at the edge of human detection. In brilliant
contrast to the darkened main space is Astral
Glide, an installation of several resin-coated
white chicken eggs with red blood veins suspended
from the ceiling in a cascading swoop. These sperm-like
forms have a jeweled radiance, at once dripping with
virility and alien fascination.
Like the health diagrams of high school science
classes, Day both de-mystifies and consecrates these
biological and scientific elements of life. Intergalactic
Installations re-invests sexual tension and
mystery, as the artist deconstructs the elemental
processes of female biology and allure.
According to Roberta Smith of the New
York Times, “ Ms. Day's work is one
of the latest examples of the suave, entertaining
political art that has succeeded the more didactic
efforts of the early 1990's. Instead of moralistic
combinations of image and text, the viewer is treated
to clever visual jokes that can trigger a host of
amusing readings.” E.V. Day shows with Carolina
Nitsch Carolina Nitsch Contemporary Art, New York
and Deitch Projects, New York. This exhibition represents
the artist’s first solo museum exhibition on
the West Coast. The artist was the subject of a major
survey exhibition at the Johnson Museum of Art at
Cornell University. In addition, her work has been
featured in numerous venues including the Whitney
Biennial (2000), Henry Urbach Architecture Gallery,
NY (2003) and in group exhibitions at Track 16 Gallery
in Santa Monica, CA (1999) and at Henry Urbach Gallery,
NY (1999). |
see
press release
Jesse Bransford
Of Two and Three
about
the BLOOM PROJECTS series
Artist Jesse Bransford will
create an installation at CAF,
Of Two and Three, which mines an iconographic mélange
of mythical figures, classical portraiture, heavy metal
album covers, and contemporary comic books. CAF’s
Bloom Project’s space will hold a newly commissioned
wall mural, whose tromp l’oeil effect applies scientific
rationality and balance to the fantastic and aberrant.
|
Jesse Bransford
Proposal Image for Of Two and Three (The Left and Right
Hands II),2006
Courtesy the Artist and Feature, Inc., New York, NY
|
In the CAF’s Glassbox
gallery, Bransford presents a large-scale drawing, Of
Two and Three, suggestive of official emblems
or seals
from a fantasy guild. Employing clean lines and a limited,
specific palate Bransford renders in a meticulous detail
two large figures holding aloft a single vase, from which
hang crowned snakes. In Bransford’s realm, these
diverse elements hold symbolic equivalence, fusing seamlessly
through the visual language of symmetry and balance.
Bransford is a Professor of Art at New York University.
He has been included in solo exhibitions at Feature
Inc, New York, Gallerie Schmidt Maczollek, Köln,
Germany, Kevin Bruk Gallery, Miami FL and Shaheen
Modern and Contemporary Art, Cleveland, OH and group
exhibitions at Yerba Buena Center for the Arts,
San Francisco, White Columns, New York and many others.
Bransford is a contributor to the art
publication Werewolf Express. |
see
press release
J. Morgan Puett
in collaboration with Iain Kerr and others...
AN EX-ODE TO THE CORPOREAL CONVERSATION:
A Salon for the suit — a boutique for the
conversation
about
the SALON series
Beginning in April 2006, CAF’s
Norton Gallery will transform into a moveable feast of
programs, interventions, and opportunities for public
engagement, as it launches a new series of artist projects
entitled Salon. By
inviting artists to create participatory work that blurs
the boundaries between gallery visitor and artist, CAF
has asked artists to address the tradition, begun in
the living rooms of the 18th Century French women, to
employ the interaction of a diverse group of literary,
artistic and cultural figures to foster an open, transitory,
and discursive space. |
J. Morgan Puett and Iain Kerr
Installation image from
That word which means smuggling
across borders, incorporated, 2006
Exhibition at Mass MOCA, The Interventionists: Art in
the Public Sphere
|
Artist J.
Morgan Puett in collaboration with Iain
Kerr and others will launch Salon with
an interactive installation and intervention. From
a barn/studio on Mildred’s Lane in Beach Lake,
PA, the artists will host a series of dinners, informal
lectures and tutorials that will be linked through
a real time web feed into the Contemporary Arts Forum.
Two screens on opposite sides of the gallery will project
from the Mildred’s Lane Farm. The interior of
the Norton Gallery will be transformed into a fitting
salon that will seamlessly fit into the barn/studio
in Pennsylvania and host daily events and informal
chats with the artists and their guests.
Puett and Kerr work collaboratively as “that
word which means smuggling across borders, incorporated.” This
business questions the intersections of art, commerce
and collaboration and has recently exhibited at the
Mass MOCA. |
|
|
