ROUND 3: Surface Tensions
New work by Amanda Turner Pohan and Russell Perkins
September 20th– September 30th, 2017
Performance and Reception Thursday, September 28th, 7 PM
What would you use to strain your eyes? Employing sculpture, image and scent, Surface Tensions focuses on how the physical juncture of the screen mediates between digital space and the body. Works on view are as follows:
evaporator/condenser. Inkjet print on 45gsm, 27lb tinted newsprint, fabricated at the Braviken Paper Mill in Norköping, Sweden for the Financial Times, wheat-pasted onto SUNTUF® UV-blocking polycarbonate, with plaster, plywood, and ABET® laminate.
Amanda Turner Pohan
(my mother’s) liquid crystal display dust. Pulverized LCD cell phone and laptop screens owned by the artist’s deceased mother, plexi glass, archival spray adhesive, fluorescent light smear. Artificial Sebum ASTM D4264-14, glass window waft. Synthetic human pheromone, HVAC filters, HVAC vents
Please join the artists on Thursday, September 28th at 7 PM, as artist Alina Tenser performs in the gallery, activating the work. A reception will follow.
This exhibition exists as part of Volley, a series of overlapping, two-person exhibitions and an experiment that foregrounds conversation and collaboration as essential aspects of artistic production. Volley’s dynamic structure formulates the exhibition as an active site that aims to stimulate dialogue between the participating artists as they engage each other’s work over the course of three months. The open-ended, evolving format of the project allows for a fluidity that, like a conversational tangent, inflects subsequent iterations. Volley is on view from September 1st – November 21st, 2017.
Round 2: Slow Lick
Mira Dayal and Amanda Turner Pohan
September 10th – September 18th, 2017
Artist talk and reading Thursday, September 14th, 7 PM
This is a slow lick.
The floor and walls of the gallery have been washed with artificial saliva, leaving a thin coating throughout; digital prints from film developed with the same substance are adhered to the wall using a mix of the bio fluid and an adhesive; a pipe in the ceiling slowly drips the synthesized spit onto a single negative atop a light box; bar soap ends molded by the hand of a bather were re-lathered and stuck to the floor with saliva.
Please join Mira Dayal and Amanda Turner Pohan on Thursday, September 14th at 7 pm for a reading and conversation on the occasion of their exhibition Slow Lick at Abrons Art Center. Joining them will be writer Steven Zultanski, who will share an excerpt from his poem Agony, and independent curator Alison Burstein, who will lead a conversation with the artists and poet.
Alison Burstein is an independent curator. She has staged exhibitions at NURTUREart (Brooklyn, NY), Knockdown Center (Queens, NY) and the Museum of Jurassic Technology (Los Angeles, CA). In previous roles directing programming at Recess and working as a member of the education departments at MoMA, the Guggenheim Museum, and the Brooklyn Museum, she organized a wide array of public programs, performances, experimental classes, and artist projects. Burstein is a master’s student in Art History at Columbia University.
Steven Zultanski is the author of four books of poetry, most recently Bribery (Ugly Duckling Press, 2014) and Agony (BookThug, 2012). His critical writing has appeared in 4 Columns, Art in America, Los Angeles Review of Books, Mousse, and elsewhere. In January 2017, an art exhibition inspired by his writing, entitled You can tell I’m alive and well because I weep continuously., showed at the Knockdown Center in Queens.
Edwin Smalling and Mira Dayal
September 1st – September 8th, 2017
Reception Thursday, September 7th, 7-9 PM
The painting begins life as a drawing, many drawings. Matured over time, they merge and migrate to finally dematerialize into the digital layers of a Photoshop file.
Each layer is individually projected onto a surface that is also screen. This particular screen was sewn together from three polyester panels, each dyed a different color and each prone to receive and respond to color in its own idiosyncratic way.
This work, an exception, was produced outdoors, never subject to the projector’s light. The layers were manually, carefully, painted from one [digital] screen onto the [physical] screen of the painting. Amidst this translation, some information was gained, some lost [though it is hard to say which, as what was supposedly lost could not be determined from either image alone].
[The painting was then scanned in the studio with a handheld device that, like a projector, emits light. It was scanned in bands, each the width of the scanner itself, which were then sewn together in Photoshop using the original dimensions of the unstretched painting as a guide.]
[Within the digital image, each panel was split apart so that it could be printed on a separate panel. Each of these prints were then sewn back together to create a composite image, resembling the painting from which it was scanned. Some information was gained, some lost, though it is hard to say which, as what was supposedly lost could not be determined from either image alone].
This exhibition includes two of the nine participating artists: Edwin Smalling and Mira Dayal. Extracting
the parasitic potential from a collaborative working relationship, the exhibition turns on the act of exchange—a base image oscillates from one surface to another, revealing the layers of digital information that were compiled and then deconstructed to create a “host” image and its parasitic counterpart. Framed jointly in the gallery, the two works speak to dependency, trust, and an underlying aggressively.