Frozen Gesture II: The September NYC Season Opener Residency and Exhibition with Michael David
An immersive experience in Critical Thinking and Professional Practices
Thursday, September 5th through Sunday, September 15th, 2019
Friday, September 6th, 6pm to 9pm
Friday, September 13th, 6pm to 9pm
Exhibition Gallery Hours:
Friday, September 6th, 1pm to 9pm
Friday, September 13th, 1pm to 9pm
Saturdays,1pm to 6pm
Sundays. 1pm to 6pm
*This residency Includes a two week curated exhibition at M. David & Co., to coincide with the start of the NYC Art Season Kickoff and all the openings in the LES, CHELSEA and BUSHWICK
*The focus of this residency will be an immersive experience in Critical Thinking and Professional Practices.
*During the day we will go to artist studios and have guest critiques from established critics and artists.
*There will be an artist talk by the participants on September 15th with an invitation going out to the public along with a facebook event invitation
*The artists will do a PowerPoint presentation about their work and their practice to the group
*The residency will include approximately 8 artists with approximately 2 works each in the exhibition
*Crits will be given by Kara Rooney, David Cohen and Paul D’Agostino. Learn more about them here:
Kara Rooney is a Brooklyn-based artist and critic working in performance, sculpture and new media installation. Her visual work has been widely exhibited in international and domestic venues including Fridman Gallery, NY; TOTAH, NY; Driscoll Babcock Gallery, NY; A.I.R. Gallery, NY; the Chelsea Art Museum, NY; the International Women’s Museum, CA; the Jersey City Museum, NJ; the Montclair Art Museum, NJ; the Pera Museum, Istanbul, Turkey; and the Karamay Museum of Fine Arts, Xin Jiang, China. She has been an artist in residence at Palazzo Monti, Brescia, IT; the Sharpe-Walentas Studio Program (2015-16); the MeetFactory, Prague, CZ; La Quiñonera, Mexico City, MEX; the Queens College Art Center, NY; among others. She is a Santo Foundation Individual Artist Grant recipient (2014) and her critical writings have been published in Art in America, The Brooklyn Rail, Hyperallergic and M/E/A/N/I/N/G. Rooney earned her MFA from the School of Visual Arts and is an Editor Emeritus for The Brooklyn Rail.
David Cohen is editor and publisher of artcritical as well as a regular contributor. He is founder-moderator of The Review Panel, the critics’ forum hosted by Brooklyn Public Library (formerly National Academy Museum, New York, and Pennsylvania Academy of the Fine Arts, Philadelphia) and podcast here at artcritical. He was Gallery Director at the New York Studio School from 2001-10 and art critic and contributing editor at the New York Sun from 2003-08.
Born in London and educated at the University of Sussex and at the Courtauld Institute of Art, David wrote for leading newspapers and magazines in England and around the world before emigrating to the United States in 1999. His books include “Serban Savu” (Hatje Cantz verlag, 2011) and “Alex Katz Collages: A catalogue raisonné” (Colby College Museum of Art, 2005).
Paul D’Agostino is an artist, writer, translator, curator and professor living in Bushwick, Brooklyn, where he has been producing and hosting art exhibitions and critical discussions at Centotto Gallery, situated in the living room of his shared loft, since 2008. He holds a Ph.D. in Italian Literature and is currently a member of the part-time Art Faculty at Parsons The New School for Design, and MFA Writing Advisor at the New York Studio School of Drawing, Painting and Sculpture. He has also taught language, literature, cinema and interdisciplinary studies courses in the Department of Modern Languages and Literatures at CUNY Brooklyn College, the Department of Romance Languages at Fordham University, and the Italian Department at Rutgers, The State University of New Jersey.
Theme: Frozen Gesture, a review of the work of Lynda Benglis by Robert Pincus-Witten in Art Forum 2011:
More and more Lynda Benglis strives for theatrical effect. At the opening of the new Walker Art Center, in Minneapolis, charcoal black polyurethane foam projected from the wall, creating an environment which was cavernlike and prehistoric. This theatrical thrust in her work was intensified at a similar installation at the Milwaukee Art Center at which vast, plastic foam reaches were embedded with phosphorescent color. After exposure to light they glowed in the dark, giant decomposing organic matters calcified within stalactites.
In the present installation at Paula Cooper’s Gallery, sprawling forms—vastness belied by light weight—have been cast over stuffed plastic bags (later removed) and they cling to the wall to which they are organically bound like huge gray fungi or vast mastodon skulls.
This thematic inference, despite the immense beauty of the impression, seems to mark, in my mind, a general slackening of theory in Benglis’ work, an easing that allies her to the more immediate theater of the prehistoric to which Nancy Graves has devoted much of her energy. What seems threatened is not only the stature of a highly gifted artist who made some of the most energetic and difficult early steps in favor of post-Minimalism, but the viability of post-Minimalism as a style in itself. For, in sacrificing problem for effect, even great decorative effect, the tendency is to transform the theatrical into the theoretical issue.
What is even more interesting is that both Benglis and Graves return to Pollock, no longer in morphological terms but in terms of specifically identifiable prehistoric imagery, as Pollock had done in the Jungian work immediately preceding the “all-over” of 1947–1951.
Michael Valinsky’s article: The Frozen Gestures of Lynda Benglis in Hyperallergic: click here
M. David & Co. – 56 Bogart Street, Brooklyn, NY 11206
Michael David, Director – email@example.com
Bonny Leibowitz, Residency Director – firstname.lastname@example.org