C24 Gallery on ART FUSE

Re-Thinking Home: ACAW’s Thinking Projects Pop Up at C24 Gallery

 by Audra Lambert

Thinking Projects Pop Up at C24 gallery can seem at first glance to be an expedition: before you, wonders of the world are arrayed in complex configurations. However, unlike expeditionary forces venturing to faraway lands these works are brought to New York audiences by artists Nadiah Bamadhaj (Jogjiakarta), Irfan Önürmen (Istanbul), and Sumakshi Singh (Delhi). Each artist adapts images relevant to their particular cultures, presenting their work within the context of Asia Contemporary Art Week 2017. The exhibition, on view through October 28, invites contemplation on the natural world from different angles and through the lens of mixed media. The triumphant exhibition, curated ACAW director Leeza Ahmady, makes manifest the potent links between US-based galleries and those in partner countries in Asia. This show, in particular, is produced with cooperation between Richard Koh Fine Art (Kuala Lumpur), Exhibit320 (New Delhi) and C24 Gallery (New York).

Singh’s work in the exhibition, in particular, Tree, subtly explores the powerful nuances of the natural environment. The lace drawing pinned on board piece is composed of sumptuous layers of thread undulating across the expanse of the composition. The white wisps clinging to the boughs whisper a wistful longing or a search for meaning subverted. The only certainty of the work lies anchored in the twisted trunk, reaching down toward the gallery floor. The sheer scale of the work invites visitors to appreciate the wonder of the natural world as re-created in organic materials.

Bamaghaj’s charcoal collages on paper, a series entitled Pessimism is Optimistic IV, documents various states of completeness and decay, a meditation on the role that dwellings and architecture play in her native Indonesia. The series of collages present various versions of utility, alternately showing solace or destruction. The intricacies embedded in these works is best appreciated with close and careful glances. Önürmen’s Diffusion presents enmeshed visions of figurative bodies and abstracted substances within a fragile yet haunting installation. Symbols of violence – a fighter pilot and a gun stand out from the melee – vie for attention with minimalist sculptures and abstract gestures. The futility of our place within the current political climate, and a rumination on the impact art history has in such fragile conditions, cannot help but spring to mind.

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İrfan Önürmen on Daily Sabah

Historic Istanbul Street alive with design, art this week

Rivaling Istanbul's hip districts of Karaköy and Bomonti, TomTom Street, which was once home to Levantines, assumes a new identity with cafes and galleries popping up daily. Now, the historic street is hosting the third edition of ‘Design at TomTom Street,' welcoming designers, artists and musicians

When seeking information about Istanbul and its neighborhoods, the first place that people certainly mention is Beyoğlu. Now, Istanbul's busiest neighborhood is in the spotlight again with "Design at TomTom Street."

TomTom Street, a promising center of creation with a rich history and expansive architecture that carries the past into the present, featuring everything from restaurants to art galleries and museums to design stores, is bringing design to the heart of Istanbul from Oct. 19-22 with "Design at TomTom Street" under the theme, "Watch Yourself."

Held twice a year, the third edition of the design festival will host 100 designers, 50 artists, 50 speakers and five different venue designs.

Organized with the initiatives of the TomTom Design Management Executive Board consisting of Hakan Kodal, Bahar Korçan, Serra Arıkök and Ayşegül Temel, the event is organized under the auspices of the Beyoğlu Municipality. Organized for the second time in May 2017 and visited by more than 20,000 visitors, the event will host three different activities on three different nights.

On the opening night, a private launch of "TomTom Designhood," which will be full of art, design and music will take place. In the next days of the event, private chat sessions and meetings under the title of "Designing Life and the Future" will be offered, featuring dance performances and different music activities for visitors. Big names including Levent Erden, Ömer Madra, Yelda İpekli, Özlem İkiışık Barutçu, Sare Palaska, Cem Talu, Hande Akın, Özlem Gürses, Şah Yaycı, Ecmel Ayral, Başak Pelister and Günseli Kato will attend various panel sessions and workshops during the event, as well. The works of more than 50 artists will be on display in the exhibition area, under the theme of "Watch Yourself," along with installations and art projects in the important buildings and landmarks of TomTom Quarter. The TomTom Red exhibition area, specially arranged for the event and curated by Bahar Korçan, will host the works of artists including İrfan Önürmen, Barış Sarıbaş, Çağla Mısırlı, Alev Gözonar, Buğra Erol, Dicle Çiftçi, Alev Araslı, Sevil Dolmacı Art Cosultancy sanatçılarından Alea Pınar Du Pre, Elif Tutka, Yusuf Aygeç, Nurdan Likos, Art On Galery Sanatçılarından Olcay Kuş, Erman Özbaşaran, Ahmet Çerkez and Olgu Ülkenciler.

In addition, the "Deco Floor," prepared for the first time earlier this year to host the exhibitions of leading decoration design brands from Turkey and around the world, will continue at the third edition of the event.

The collections of famous fashion designers including Arzu Kaptol, Mehtap Elaidi and Özgür Mansur, along with the collections of young designers, will be on display at the TomTom Trend Area, established in collaboration with the Fashion Designers' Association and with the Bahar Korçan selection.

TomTom Street is expected to host the best music in town, as well. Live music and DJ performances will offer colorful hours for visitors throughout the event. Moreover, a video and photo contest will be held and the creator of the best videos and photos describing the "Watch Yourself" theme will win a return ticket to the Milano Design Week.

On the closing night of the event, "Design Awards" will be presented by the Registered Trademarks Association and the curtain will fall, until next year, with a concert titled, "Nardis Jazz Night."

Representing Troy, the main sponsor of Design at TomTom Street, General Manager of Interbank Card Center Dr. Soner Canko noted that they are proud to be among the supporters of the Design at TomTom Street event, and endeavor to show the importance of creative ideas, new looks and unique approaches. "As one of the very few events that opens up a space for creative people, Design at TomTom Street shows us that creating and making starts with 'Watching Yourself.'"

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Dil Hildebrand in Architectural Digest

A Brooklyn resident for over 25 years, Walsh currently lives in Park Slope. She peppered her front-facing bedroom with modern silhouettes covered in lush, textural materials like velvet and leather. A leaf-printed folding screen at the back of the room is meant to mimic the view of branches out the room's front windows.

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EVENT | September 21, Panel Discussion: Facial Profiling

Join C24 Gallery in partnership with NYFA

Panel Discussion: FACIAL PROFILING
Moderated by Facial Profiling curator David C. Terry

September 21, 2017, 6-8pm, C24 Gallery 560 West 24th Street, NYC
Panel discussion begins at 6:30pm

RSVP Required : info@c24gallery.com

David C. Terry, curator of Facial Profiling, on view at C24 Gallery, moderates a discussion with NYSCA/NYFA Artist Fellows Samira Abbassy, Kwesi Abbensetts, Geoffrey Chadsey, Sean Fader, Michael Ferris, Jr., Kymia Nawabi and Oliver Wasow. The panel considers concepts of the observed, perceived and projected self, and will discuss the way their individual art practices strive to create works that cross cultures, genders, conformity, identity and question how we interpret/project imagery as portrait. Facial Profiling, is currently on view at C24 Gallery through September 30th.

 

Event | September 7 Reception with Performances at C24 Gallery

Join NYFA and C24 Gallery for an evening of performances in conjunction with Facial Profiling, curated by David C. Terry.

On Thursday September 7, 2017 three performances by NYSCA/NYFA Artist Fellows will occur at C24 Gallery. These performances are in conjunction with NYFA’s curated exhibition, Facial Profiling, currently on view at C24 Gallery. The performances will draw from the exhibition by exploring concepts of the observed, perceived and projected self. Works include visualizations that cross cultures, genders, conformity, and identity and also question how we interpret/project imagery as portrait.

Cori Olinghouse, photo by Andrew Jordan

Cori Olinghouse, photo by Andrew Jordan

 

Title: Facial Profiling
Performance Date: September 7, 2017
Time: 6:00 PM- 8:00 PM, Performances from 7:00 PM - 7:30 PM
Location: C24 Gallery, 560 West 24th Street, New York, NY, 10011

Participating Visual Artists:
Samira Abbassy
Kwesi Abbensetts
Geoffrey Chadsey
Sean Fader
Michael Ferris, Jr.
Kymia Nawabi
Oliver Wasow

Performing Artists:
Joseph Keckler
Cori Olinghouse
Martha Wilson

This event is free and open to the public.

Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin.  

Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin.
 

 

About the Performers:

Joseph Keckler (Fellow in Interdisciplinary Work ‘12) is a singer, writer, and artist who often draws on humor, autobiography, and classical themes. He has appeared at venues including Centre Pompidou, SXSW Music, Miami Art Basel, BAM, among others, and has been featured on BBC America and WNYC Soundcheck. a Creative Capital Award in Performing Arts, a 2012 NYSCA/NYFA Artist Fellowship in Interdisciplinary Work, a Franklin Furnace Fund for Performance Art grant, and a Village Voice Award for “Best Downtown Performance Artist.” The New York Times recently named him a “major vocal talent [who] shatters the conventional boundaries…” He is currently under commission from Opera Philadelphia/FringeArts and PROTOTYPE/HERE for new performance pieces premiering in 2019. His first essay collection, Dragon at the Edge of a Flat World, will be published by Turtle Point Press this fall.

Cori Olinghouse (Fellow in Choreography ‘13) performs her improvisational portraiture practice, Clown Therapy, exploring the shape-shifting nature of identity and personhood. She channels personal experiences growing up in an American landscape of Twinkies and Wonder Bread—accessing the archival to play in the residues of history. Dark and wry, this dance excavates the effects of family dynamics, cultural appropriation, and whiteness on her art.

Cori Olinghouse is an interdisciplinary artist, archivist, and curator. Her work has been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Recently, she was the recipient of The Award (2015-2016), a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program (2016-2017), a co-curator for the Movement Research Fall Festival, vanishing points (2015), and a panelist in the Museum of Modern Art’s Storytelling in the Archivesforum (2015), alongside Boris Charmatz and Marvin Taylor. Olinghouse danced for the Trisha Brown Dance Company (2002-2006), and has served as the archive director since 2009. She has worked closely with artists from American vernacular styles who use transformation and shape-shifting, including Bill Irwin, and legendary voguers Archie Burnett, Benny Ninja, and Javier Ninja. She received a B.A. from Bennington College in Dance, Writing, and Video (2001) and an M.A. from Wesleyan University in Performance Curation from the Institute for Curatorial Practice in Performance, for which she was recognized with an outstanding thesis award for her hybrid scholarship in archival and curatorial practices: Mapping the Unruly: Imagining a Methodology for the Archiving of Performance (2017).

Martha Wilson (Fellow in Performance/Multidisciplinary ‘01) is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion, and preservation of artist books, temporary installation, and performance art, as well as online works. She is represented by P.P.O.W Gallery in New York.

Martha Wilson received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University in 2013. She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; a Lifetime Achievement Award from Women’s Caucus for Art; and the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies, Bard College.  

Find out more about NYFA’s Curatorial Services for organizations and the NYSCA/NYFA Artist Fellowship Program, a $7,000 unrestricted cash grant awarded to individual artists living and working in the state of New York.

Images from top: Cori Olinghouse, photo by Andrew Jordan; Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin

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C24 named in Five Favorite Chelsea Art Galleries by Roger Smith

Relatively new to the scene, C24 Gallery opened in 2011 with a commitment to bringing innovative contemporary art to the streets of Chelsea. C24 will showcase the work of seven NYSCA and NYFA Fellowship Award winners in, Facial Profiling. The exhibition will be critical examination of how we interpret the ‘self’ – through identity, culture, gender and obedience.

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C24 Gallery at Seattle Art Fair featured in The Daily of the University of Washington

Seattle Art Fair: illuminating the irony of Seattle’s fine art scene

By Ayesha Saleem The Daily

I have never been to an art fair. My expectations were shaped mainly by jokes about pretentious art critics drinking wine while ‘ooh’ing and ‘aah’ing over a drawing that looked like something a five-year-old would draw in class. 

Visual art has never been my preferred medium — I’ll go for music over a painting, a play over music, and a book over anything else. To be honest, I’m a little intimidated by paintings and sculptures, because I never really “get them;” the most emotional reaction I seemed to have was “Oh, that’s so pretty.” Going to the first two days of the Seattle Art Fair, though, presented me with a nice surprise: I’m not as hopeless at appreciating art as I’d always thought. 

After checking into the fair, I wandered through the aisles for a little while. Galleries were set up on the floor in little cubicles, clustered into little cubes along the path. Every now and then, I furrowed my eyebrows just a smidge as I stared at paintings intently, hoping I looked intrigued and thoughtful instead of confused and out of my depth. People with wine glasses filtered around me, buzzing with conversation. I heard someone discuss a painting — something about life and death, and how the artist’s colors and techniques really brought that to the forefront. All I had gleaned from the painting were a bunch of scribbles. 

And then it happened: I saw a painting, and I paused. It was a beautiful painting, entitled “Desert,” by artist Wendelin Wohlgemuth. It showcased a silhouette of a person pointing a gun at something out of the frame, and the technique the artist had used made it seem as if the viewer was staring at this person through a grainy green-gray filter. The entire painting had a very melancholic, far-away feeling. It was a perfect depiction of how I felt so often when I read the news or heard about terrible events happening in the world: a removed bystander, peering from an insurmountable distance into a world I had not and would never know, unable to even make out the specific details of the tragedy, let alone offer any meaningful help. This instant connection to a piece of visual art was not frequent, though, and even as I continued perusing the galleries, I saw many paintings that I liked, but few that I really loved. 

A lot of the paintings I saw reaffirmed the pretentious artist stereotypes many of us are familiar with. There was a painting hidden behind a black curtain, with a single spotlight shining on the canvas. There were chairs in front of the painting, and before entering the little alcove, there was an entire list of what the artist thought made good art. The painting itself was a swath of brown paint. It was a really nice brown — more nutty brown than chocolatey brown — but it was just...brown. I sat down for a few moments, then turned toward the person next to me, and we both burst out laughing. One of the reasons I couldn’t take it seriously was probably because it reminded me of that scene from “Daredevil” where Fisk stares at the painting that’s all white and all I could think was, “At least that painting had different shades of white.” 

A recurring theme that seemed to be present was immigration and cultural and racial diversity — there were paintings depicting Latin, Black, Arab, and Native peoples, and galleries from Germany, Japan, and Korea. Some highlights for me were the New York-based C24 Gallery, the Seattle-based Patricia Rovzar Gallery, and the Portland-based Russo Lee Gallery.  

Two things really struck me: a) how expensive art was and b) how exclusivity and separation were sought after by the art community — or at least the subset of that community represented at the Seattle Art Fair. 

Is visual art an activity only for the wealthy? I didn’t see a single piece that was below $500. Most were thousands of dollars, and some were hundreds of thousands of dollars. I saw a painting that was $180,000 that I wouldn’t have paid more than $50 for (due to my own unsophistication, no doubt). I saw a painting that looked literally like someone had drawn it in Microsoft paint being sold for $5000. The idea of people charging this much money for paintings is insane to me, but what’s even more insane is the reality that people have enough money to burn on actually purchasing them. 

These seemingly absurd prices were surprising to me because they appear to directly contradict the purpose of art. Art is the celebration of individuality, but more than that, it’s about openness — it’s about expression, it’s about society, and it’s about how we interact with each other. It’s built on nonconformity, diversity, and yet, the crowd at the art fair was largely homogenous: wealthy, white, and “intellectual.” 

This observation isn’t made with the intent to cast aspersions on the art community or the Seattle art fair; it’s just odd to me that art, which is about the celebration of differences and subjective human emotional connections, seems to draw such a specific set of people. There was also a somewhat elitist emphasis on status, as evidenced by the three separate VIP lounges present. 

Funnily enough, the art being consumed was representative of everything that wasn’t present: diversity of culture, race, and social class. Isn’t art about transcending these hierarchies? 

Overall, though, even as an outsider to the art world, I enjoyed visiting the art fair, and I’d recommend others go as well when it happens next year. The ticket prices were fairly reasonable — $20 for one day, $50 for three days, and $5 for one day if you were between 13-19 years old. 

There were some beautiful pieces of art displayed. For someone who already has an interest in visual art, this fair is a great place to expose yourself to interesting artists and learn a little something new. If, like me, you’re a total newcomer, it’s a great place to start exploring the world of visual art, or get a peek into the strange, subjective world of fine art.

Read the full article here.

Carole Feuerman Featured on La Repubblica

Serena is indeed the protagonist of an art installation that does not go unnoticed, dominating the Piazzetta: the work of the American hyperrealist sculptor Carole Feuerman has often been the protagonist of the Venice Biennale, is a swimmer, complete with a headset, shown at rest

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İrfan Önürmen: Gaze

In collaboration with C24 Gallery New York, Aria Gallery Florence presents İrfan Önürmen’s first solo exhibition ‘’Gaze’’ in Italy, between the dates 13 May - 17 June 2017.

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Irfan Önürmen Featured in Kültürlimited

İrfan Önürmen's large-scale portraits in the Gaze Series, which also allow for psychological and political readings, are sending out to the outside world and the inner world by reference to the characters and feelings that are unidentified in the community but familiar to all of us.

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Carole Feuerman in Whitehot Magazine

Although new art movements may be few and far between nowadays, Pop Art continues to prevai. Carole A. Feuerman brings Roy Lichtenstein’s famous 1961 painting Girl with Ball to mind in her realistic 2017 sculpture Miniature Brooke with Beach Ball at C24 Gallery,

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