By HG Masters

There was no sign outside the Abu Efendi Mansion (Konağı) announcing the exhibition “Koloni” (“Colony”) held inside the late 19th-century building located just across the tram tracks from the Hagia Sophia (Aya Sofya). Given the metaphorically chilly climate in Turkey—incrementally more repressive every month—the understated presence of the show made sense considering its themes and concerns: curators Kevser Güler, Derya Bayraktaroğlu and Aylime Aslı Demir describe these as “the scope of post-human and queer critique kinship.” For context, in November, Turkey’s capital city Ankara had banned all exhibitions and film screenings with lesbian, gay, bisexual, trans and intersex themes. Since 2015, police have blocked and violently suppressed the once-annual transgender and gay pride parades held in Istanbul. That “Koloni” was the biennial exhibition of the Kaos Gay and Lesbian Cultural Research and Solidarity Association (known as Kaos GL and based in Ankara) could only have been inferred from the copies of the organization’s magazine available on a table in the building’s foyer.

The artworks of “Koloni” similarly vacillated between explicitness and obscurity. Despite modest external promotion, at the same time, curators didn’t hold back in presenting overtly queer or trans themes to those who had ventured past the security guard. The ground floor, for instance, featured a video by Dynasty Handbag, Oh, Hummingbird (2017), a psychedelic music video starring artist Jibz Cameron’s alter egowearing a nude suit drawn with female genitals while singing a ballad about a hummingbird having to navigate a polluted natural environment. You couldn’t miss the sound of Dynasty Handbag’s singing, though the small monitor was placed on the floor, perhaps obscuring details of her outfit unless you crouched down.

Upstairs, the negotiation between overtness and obliqueness continued in nuanced ways, as artists represented bodies in various kinds of transition or transformation. Nilbar Güreş’s embroidered and painted diptych work, entitled Vaginal Fisting (2014), again required close inspection to see just how she visualized the titular action by hybridizing floral and biological imagery into small figures collaged on blue-striped textile (I noted that in the exhibition map, the title was not translated into Turkish). In a tiny adjacent room was a pair of black nylon pants with a bright pink belt, its crotch melted away in sections—Güreş’s Queer Desire Is Hot (2017)—which, by comparison, seemed like simplistic declaration. Chemical transformations are the subject of Mary Maggic’s video Housewives Making Drugs and accompanying diagram on paper Open Source Estrogen Mind Map (both 2017). The video features two trans-femme stars, Maria and Maria (played by Jade Phoenix and Jade Renagade), who in a mock live cooking show demonstrate how to synthesize estrogen from urine, providing instructions for those who want or need to pursue a DIY hormone treatment. Moving even further into the post-human territory was Daria Martin’s 16 mm film Soft Materials (2004), which was shot in the Artificial Intelligence Lab at the University of Zurich, and captured two nude performers (one man, one woman) trained in “sensory awareness,” interacting with the robotic machines in dance-like routines or intimate touching.

Back in the more esoteric direction were İris Ergül’s Vertebrae(2017), which is a set of amoebic-looking islands of latex and fake fur rising up from the floor—resembling both human and animal parts, internal organs and exteriors. The events in Gökçe Yiğitel’s video recording of a two-hour performance Proteus (2017) were hard to discern in the sunlit space, but the physical remnants involved an audio recording of a 12-minute guided meditation and an “incubation site” comprising a piece of glass, where various bacterial growths were encased in agar and labeled. Also deploying a piece of glass as its surface was Yavuz Erkan’s messy, painterly composition of diverse materials—including “kidney stone(s) of a mother,” “home-grown K3[Fe(CN)6] (Potassium Ferricyanide) single crystal(s),” “broken piece(s) of a brown glass bottle,” bleach and apple cider vinegar, and the handle of a black plastic bag—which had an enigmatic appeal.

Birds—and post-internet aesthetics—returned in several works on the second floor upstairs, including Katja Novitskova’s massive photographic cut-out (sourced online) of a red bird’s curling beak and head, Approximation Mars I“Assemblage Version” (2014), which sits on a bed of correspondingly bright-red aquarium pebbles and blurs all the lines between the natural and artificial realms. Similarly exploring the crossovers between nature and scientific study, Ursula Mayer’s film Atom Spirit (2016–17) imagines a quasi-futuristic, female-led team of scientists collecting DNA from natural locations in Trinidad and Tobago—including from hummingbirds. Meanwhile, Kerem Ozan Bayraktar’s Mimicry (2017) installation and video depicts a flower production factory that is more online retail fulfillment center than greenhouse.

Looking to the past for possible models for the future, İz Öztat installation works were from her “Posthumous Production” series by an alter-ego named Zişan, who was involved (or was imagined to be involved) with early 20th-century avant-garde circles in Europe as well as Turkish socialist groups. These works take the form of various woven cane sculptures, including one visualizing Nietzsche’s idea of the “eternal return” and a hanging woven lattice stitched with the word “Utopie.” Psychosexual dystopias were evoked Erinç Seymen and Uğur Engin Deniz’s pair of digital works. Each is a looping, animated drawing in Seymen’s fastidious style, with surrealist, nightmarish imagery: a mass of bodies pouring from the windows of a school-like building; an amorphous creature comprised of flowers, leaves and human hands holding a ruler and a knife.

Even more difficult to parse—particularly in the absence of texts about the works—were Yasemin Nur’s installation Permeate (2017), a room-installation of squares of old pieces of paper arrayed on old wooden furniture and boxes, and Umut Yıldırım’s booklet resting on a red bench with red buckets of soil beneath it. The latter, titled Lungs (2017), contained poem-like lists of related things—AK-47, M16, RPG-7, for example; or various kinds of vegetables and grains—in what was described in the caption as an “inventory,” though it was unclear of what.

The significance of other works might have also passed me by if I hadn’t gleaned certain biographical or contextual subtexts from friends’ explanations. On the building’s top floor, for instance, a video work by the filmmaker collective İyi Saatte Olsunlar (“Let the Good Times Roll”), titled Raskol’s Axe (2013), is a music video of a drag performer lip-synching the 1978 song Melankoli by the diva Nükhet Duru. The video was directed by the late Boysan Yakar, who was one of the co-founders of the group, and who was known for his work as a mayoral advisor in a prominent city municipality on LGBTI issues, making him one of the only openly gay figures in Turkish politics. He and two other LGBTI activists died tragically in a car accident in September 2015. The show contained another kind of memorial, also hiding in plain sight, in the form of a newspaper sitting on an old armchair in the front foyer, that I only saw on my way out. Aykan Safoğlu’s project The Ark (2017) consisted of the artist placing remembrance ads in Turkish newspapers that—as far as I understood them—read as poetic, personal memories compared to the formal announcements surrounding them, made by families or corporations of the recently deceased.

Safoğlu’s work, like many others in “Koloni,” positioned itself in a paradoxical space:  readily visible and yet largely inscrutable, at least on an initial glance or to those inadvertently coming across them. “Koloni” itself, as with many recent cultural events and exhibitions in Turkey—including the last two editions of the Istanbul Biennial—revealed how progressive organizations, curators and artists alike are figuring out how to avoid unwanted attention from the forces of emboldened chauvinism and ethno-militarism that dominate public life in Turkey today. While this increasingly restricted space compels artists and the cultural community to be more savvy in their presentation of challenging materials—and most likely to engage in even more forms of self-censorship than before—the accessibility and legibility to the wider public of such cultural events has severely diminished. But at this point in time, even the simple fact of survival for boundary-exploring intellectual and cultural events like “Koloni” remains an achievement.

HG Masters is the editor at large of ArtAsiaPacific.

Koloni” is on view at Abud Efendi Konağı, Istanbul, until February 3, 2018.

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Tommy Hartung at VOLTA NY featured on artnet

Among art fairs, VOLTA‘s format remains unique, in that all its participating galleries are asked to present a solo booth. It’s a simple conceit, but one that allows for a sense of depth and context, and a level of visual focus that cuts against the visual overload that can make the fairs so fatiguing.

“Much thought goes into placing the galleries in such a way that meaningful dialogues between different artists, especially in this solo context, create an even deeper understanding and appreciation of the variety of artistic positions presented,” said Amanda Coulson, artistic director of the fair.

This year marks VOLTA’s eleventh in New York City and its fourth at Pier 90, where the proximity to Armory has boosted attendance considerably. (For the curious, the fair’s name comes from the fact that it got its start as a satellite fair in Basel, Switzerland, where it was housed in a former electric plant there.)

There’s plenty to see. Don’t miss, for instance, the latest curated group show at the center of the fair. This year’s edition was organized by Mickalene Thomas and Racquel Chevremont, titled “The Aesthetics of Matter.” It focuses on collage by several rising stars.

Below, we break out a few of the standout solo projects of VOLTA New York 2018.

Alan Fontes at Galeria Emma Thomas, São Paulo, Brazil:

Houses, or the remnants of their structures in the wake of disaster, are a recurring motif in Brazilian artist Alan Fontes‘s work. The interior of his solo installation booth at Galeria Emma Thomas for VOLTA, titled “The House” is centered on the idea of a three-dimensional painting, says director Camila Neubarth. It conjures up associations of an owner or occupant wandering through their home in the dazed aftermath of catastrophe.

Visitors navigate detritus including scattered floor tiles, picture frames, suitcases, and bottles, along with destroyed furniture and even a piano, all cast in a dull shade of volcanic ash-gray. The paintings that hang on the walls of the space depict eerie small-scale houses, islands in a sea of black paint as well as larger depictions of houses sliced in half or with entire sections missing, with piles of personal belongings still visible inside, evoking post-disaster news imagery.

Tommy Hartung at C24, New York:

Tommy Hartung’s installation at C24 Gallery, titled R.U.R. (Rossum’s Universal Robots), is based on Karel Čapek’s 1920 science fiction play where the term “robot” was first used. The play explores the uncertainties raised by the speed of technological progress and the dehumanization that occurs with the robotization of human interactions. In Hartung’s adaptation, the original work is re-written through photographs, costumes, and videos, posing the question of why people want robots to look human.

Hartung’s photographs consist of character studies and pictures inspired by the constructivist art originally designed for the original play’s playbills. The video installation (above) is flanked by two creepy mannequin heads contain cameras, briefly incorporate the viewer into the video loop.

William Buchina at Slag Gallery, Brooklyn, New York:

William Buchina‘s “rephrasing” and reutilization of primary source material are what Slag Gallery gallery director Irina Protopopescu describe as part of “a crusade unpack his own creative process.” The result is an intriguing series of paintings that invite careful study, albeit without delivering a clear or linear narrative. But that’s part of the fun. The process of making the works is central to the story-line, says Protopopescu. “In making them I imagine a lost ritual… random and unrelated elements take over,” Buchina said in a statement.

C24 Gallery mentioned in Galerie

By Paul Laster

With the influx of art fairs landing in New York this week, advance planning is key. Here, we have sifted through the lists of exhibitors at the top four fairs—the Armory Show, Volta NY, Independent and NADA—to highlight the art and artists that we believe merit the most attention.


Nearby at Pier 90, the 11th edition of the Armory Show’s sister fair, Volta NY, offers 85 galleries from 48 cities presenting a global vision of contemporary art.

Collage is at the core of much of the art on view at the fair, ranging from the gallery booths to the curated group exhibition. Colombian artist Harold Ortiz, for example, manipulates illegally downloaded image bank pictures in his photographs at Medellin’s Timebag; Damien Hoar de Galvan assembles cut pieces of painted wood to construct organic and geometric forms on simple bases at Seattle’s Studio E; Tommy Hartung juxtaposes his own creations with found materials and footage to create fragmented cultural narratives in video, photography and sculpture at New York’s C24 Gallery; and Jean-Sébastien Denislayers a variety of painterly marks on Mylar to construct colorful abstract paintings at Montreal’s Galerie Simon Blais.

New York–based artist Mickalene Thomas and independent curator Racquel Chevremont joined forces to organize “The Aesthetics of Matter” in the Curated Section of the fair. Taking collage as the point of departure, the eight-artist exhibition explores the medium through cultural, personal, and material concepts. Standout artists in the show include Tomashi Jackson, who uses Josef Albers’s 1963 text Interaction of Color to explore the history of racial segregation in her painterly assemblages; David Shrobe, who creates surreal portraits by combining his figurative paintings and drawings with found materials; and Kennedy Yanko, who makes abstract sculptures by blending rubbery skins of poured paint and crumpled paper with bits of marble and scrap metal. Pier 90, New York City

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Mike Dargas in Contemporary Art Curator Magazine

Mike Dargas was born in 1983 in Cologne, Germany.  Alongside his first drawings, he started making paintings with oil paint from a young age, which he was selling to friends of his mother. At age eleven, Mike Dargas exhibited his talent publicly, drawing old masters paintings with pastel and chalk on the pavement in front of the Cologne cathedral.

He then got accepted in an art school, from which he graduated after a year and a half, the only child in a class of adults. There, he learnt different techniques, and received a training that led him to master three dimensional arts, like wooden sculptures. In his early twenties, he built himself a solid reputation in the tattoo scene and won numerous prizes and awards.

Inspired by artists such as Dali, Caravaggio and HR Giger, Mike Dargas studied various techniques and since his youth developed a passion for realism, which he narrowed down over the years to hyperrealism.

The extremely precise technique with oil paint gives, like a photography, a snapshot of the moment. The artist studies his subjects with such intensity, that each portrait pictures a profile of increasing intimate closeness. In his portraits, Mike Dargas is not limited to certain types. He paints young and old, beautiful and dark, fragile and strong people. They are lost in their thoughts, show inner conflict or convey a unique or even holy calmness. The perfection of his technique serves his goal to tend towards the perfect image, reaching for the soul within each single one. Through his works, Mike Dargas challenges us to take a closer look, to understand the nature of human being and to question our own emotional perception.

The artist lives and works in Cologne, Germany.

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Brian Tolle in Whitehot Magazine

By Paul Laster

Little boxes on the hillside / Little boxes made of ticky tacky/ Little boxes / Little boxes / Little boxes all the same / There's a green one, and a pink one / And a blue one and a yellow one / And they're all made out of ticky tacky / And they all look just the same – Pete Seeger

Questioning the utopian nature of suburbia, Brian Tolle’s colorful sculptures from his Levittown series reveal that the once idyllic perception of these middleclass communities is fading as fast as the American dream. Tolle, who’s celebrated for his public art installation Irish Hunger Memorial in New York’s Battery Park City, is presenting eleven of these poetic pieces, along with a whimsical model of the façade of a 17th-century Flemish canal house, in his current solo exhibition, BENT, at C24 Gallery in New York.

Primarily considered a suburb on Long Island, where the first community was built, Levittown is actually the name of seven housing developments, which are comprised of assembly-line-style structures that were built in New York, Maryland, New Jersey, Pennsylvania and Puerto Rico between 1947 and 1970. The communities played a major role in the rise of the middle class, as well as the urban flight that devastated big cities. These housing developments also became the butt of a lot of jokes after Pete Seeger made a hit record out of his rendition of singer-songwriter and political activist Malvina Reynolds’ catchy tune, Little Boxes, back in 1963. 

Taking this classic suburban house as his point of departure, Tolle created a detailed mold from a scaled-down architectural model of one of the “ticky tacky” homes, which he cast “just the same” from silicone rubber in a mix of lively colors and then incorporated into quirky assemblages of various found objects that are symbolic of life in the burbs. 

A green house comically grips a pair of crutches in Out of Service; a pink home ironically tops a rocking horse, a bicycle with training wheels and a rusted wagon in Outgrown; a blue habitat with white trimmed windows and red shutters and door lazily rests atop a wheelchair in Old Glory; a yellow dwelling smartly covers a metal shopping cart filled with nativity figures in Jerusalem Ave; while a flattened fuchsia abode amusing conceals a bean bag chair in Go Ask Alice.   

Paired with these witty works are large and small versions of Eureka, the artist’s 40-foot high sculpture of the façade of a 17th-century canal house. Commissioned by curator Jan Hoet for an exhibition in Ghent in 2000, the three-dimensional work required digital technology to add the reflection and wave movement of the canal to the facsimile of building’s surface. Here we see the structure surrealistically laid out on the floor of the lower gallery, which can be dreamily viewed from above.

Curiously enough, dreamy is an apt metaphor for the whole show, as if you’re recalling the relics of an earlier life or discovering your family history—be it 50 or 350 years in the past. WM

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Regina Scully Awarded The Louis Comfort Tiffany Foundation 2017 BIENNIAL GRANT


The Louis Comfort Tiffany Foundation is pleased to announce the recipients of its 2017 Biennial Grants. These unrestricted grants of $20,000 each have been awarded to 30 artists working in painting, drawing, sculpture, photography, video, craft, and new media (see list below). The purpose of the funds is to give artists the opportunity to produce new work and push the boundaries of their creativity. Recipients were chosen from a pool of 156 nominees proposed by national nominators—artists, critics, museum professionals, and Foundation trustees. A seven-member jury selected winners for their talent and individual artistic strength. In May 2018, the Foundation will publish a full-color catalogue documenting the work of grant recipients with images and biographies. This catalogue will also be made available on the Foundation’s website. As 2018 marks the Foundation’s centennial, plans for the celebration of this important anniversary will be forthcoming.
Established in 1918 by Louis Comfort Tiffany, son of Tiffany & Company founder Charles Louis Tiffany, the Foundation remains one of the largest single sources of unrestricted monetary grants to artists working in America today. The Foundation originally operated Laurelton Hall—Tiffany’s estate at Cold Spring Harbor, Long Island—as a summer residency for its fellows and craftspeople. Since 1980, the biennial competition has distributed nearly $10,000,000 in awards to 500 artists nationwide, extending the commitment of its founder “to help young artists of our country… and to assist them in establishing themselves in the art world.”
Award winner and Foundation Trustee Kerry James Marshall summarized his experience: “Few events are more exciting and encouraging than being nominated to compete for prizes you can't apply for. It is the kind of endorsement that gets the wind at your back, and since my 1993 Tiffany grant, it's been full speed ahead. It has also been an honor to join the Tiffany board and serve with famous artists I used to only read about. I was so fortunate to be an awardee. We are so lucky there is the Louis Comfort Tiffany Foundation.”
In honor of the Tiffany Foundation’s position as one of the earliest artist-endowed foundations in the United States, and the first created by an artist during his or her lifetime, in November 2017 the Aspen Institute Artist-Endowed Foundation Initiative/AEFI recognized the Tiffany Foundation with its Service Salute. The Initiative’s Project Director, Christine J. Vincent, acknowledged the Foundation’s:

“... commitment to assisting artists since its establishment in 1918—a record unsurpassed in philanthropy generally, let alone among artist-endowed foundations. Since the inception of its current program in 1980, the Tiffany Foundation has been a crucial source of support for dedicated artists whose work shows significant promise of further development, providing them with the financial resources required to produce new work and hone their creative abilities. By targeting support to artists at a critical point in their evolution, the Tiffany Foundation has contributed immeasurably to this country’s artistic vitality.”

The Foundation is directed by a Board of Trustees led by Angela Westwater, President.

Nina Chanel Abney, Jersey City, NJ
Niv Acosta, Brooklyn, NY
Kathy Butterly, New York, NY
Karon Davis, Ojai, CA
Abigail DeVille, Fort Lee, NJ
Rafa Esparza, Pasadena, CA
Raque Ford, Brooklyn, NY
Juliana Huxtable, Brooklyn, NY
Kahlil Joseph, Los Angeles, CA
Titus Kaphar, New Haven, CT
Ellen Lesperance, Portland, OR
Candice Lin, Altadena, CA
Tiona Nekkia McClodden, Philadelphia, PA
Zachary Meisner, Austin, TX
Ebony G. Patterson, Lexington, KY
Beverly Penn, Austin, TX
Sondra Perry, Perth Amboy, NJ
Peter Pincus, Penfield, NY
Sean Raspet, Los Angeles, CA
Wendy Red Star, Portland, OR
Cameron Rowland, Queens, NY
Jessica Sanders, Brooklyn, NY
Beatriz Santiago Muñoz, San Juan, PR
Regina Scully, New Orleans, LA
Kaneem Smith, Houston, TX
Matthew Solomon, Lake Huntington, NY
Jesse Stecklow, Los Angeles, CA
Martine Syms, Los Angeles, CA
Kazumi Tanaka, Beacon, NY
Tomas Vu-Daniel, New York, NY
Phong Bui
Co-Founder and Artistic Director, The Brooklyn Rail

Ruth Estevez
Director and Curator, Gallery at REDCAT

Alison de Lima Greene
Isabel Brown Wilson Curator, Modern and Contemporary Art, Museum of Fine Arts, Houston

Chrissie Iles
Curator, Whitney Museum of American Art

Charles LeDray

Kerry James Marshall

Bruce W. Pepich
Executive Director and Curator of Collections, Racine Art Museum

Brian Tolle featured on Wallstreet International

11 Jan — 27 Feb 2018 at the C24 Gallery in New York, United States

C24 Gallery is pleased to present a solo exhibition of sculptures by Brian Tolle marking his inaugural exhibition with the gallery. The exhibition brings together Tolle’s iconic public work, Eureka, on view for the first time in the United States and in a gallery setting, paired with his Levittown sculptures.

A highlight of the exhibition is the monumental installation Eureka. At approximately 36 feet high, when standing, the sculpture is a 3D rendering of the façade of a 17th-century Flemish canal house as it might exist in wave form. Thus, it becomes an uncanny reflection of the kinetic water below it. Originally commissioned by curator Jan Hoet for his landmark exhibition Over the Edges (2000), as a site-specific public installation in Ghent, Belgium, the sculpture is re-contextualized in the gallery space. Lying flat on the gallery’s atrium floor Eureka confronts notions of place and process thereby questioning the function of art in public spaces versus art in specific institutions. Drawing ideas from a broad-based conceptual analysis, Tolle creates a dialogue between the contemporary and the historical and blurs the border between architecture and its evolving environment.

A keen observer of domestic life and identity, Tolle furthers his interest of politics of place in his Levittown sculptures. The sculptures are inspired by the planned housing community, Levittown: the historic town in Long Island, NY, which became the archetype of American suburban life in the early 1950s. Each of Tolle's eleven sculptures is a precise scaled model of an original Levittown home -- cast from the same mold varying only in color and displaying the architectural details of the original structures. The sculptural houses themselves resemble deflated or melting membranes, and are supported by various appropriated mementos of suburban life - found toys, tire swing, shopping cart, a plastic nativity set, and a recliner. These iconographic items rest underneath and inside silicone rubber skins of the houses, emphasizing a dialogue between sites and domestic artifacts.

As the title of the exhibition suggests, the artworks presented in Bent provoke a re-reading, or discord between reality and fiction. The formal play that Tolle visually articulates between shapes and textures, private and public spaces presents a challenge to standard architectural, as well as behavioral conventions and norms.

Brian Tolle's work has been exhibited in the Whitney Biennial, Liverpool Biennial at the Tate Modern, Kunsthalle Bern, Switzerland, the S.M.A.K. in Ghent, Belgium, Institute of Contemporary Art, Philadelphia; Contemporary Arts Center, Cincinnati; the Queens Museum of Art, New York, Havana Biennial, Cuba, the Invitational Exhibition at the American Academy of Arts and numerous other institutions.

His public works include Irish Hunger Memorial (2002), Battery Park City, NYC, NY a one-half acre sculpture on the Hudson River, reshaping the landscape with a full-scale replica of a hillside Irish farm desiccated by the potato famine. Most recently he completed a public artwork in Brooklyn, NY titled Pageant, 2017 and Outflow (2015), Calgary, Alberta, Canada. Other notable public works are Simnai Dirdro (Twisted Chimney) (2010), Caerphilly, Wales, UK, Remembering Walter H. Dubner (2010), Los Angeles, CA., and Stronghold (2007), University of Washington, Seattle, WA.

He is the recipient of awards from the Irish American Historical Society, the Louis Comfort Tiffany Foundation, and the Design Commission of the City of New York.

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REGINA SCULLY Featured in Quiet Lunch


by Akeem K. Duncan.

The true magic of art lies in its ability to interact with its audience. When you walk into C24’s latest exhibition, Mindscapes, by Regina Scully, you instantaneously feel that magic. Scully’s pieces, a multifarious ensemble performing a colorful symphony of visual jazz, “slow and fast marks” that immediately draws you in.

There is a recognizable balance of purposefully precision and improvisational whimsy in this exhibition. Scully readily admits that while she maintains a certain degree of control, she allows her paintings to take her where they may. In kind, the pieces have the same effect on her audience, whisking us away on an interpretative joyride where we mold the landscapes, proclaim the patterns, commandeer the weather and write the language. Scully states:

“The idea is for people to finish the paintings themselves… to see what they see. I don’t want to tell people what to see. The viewer sees places that I’ve never been… one person will say ‘God, this reminds me of Australia in March,’ another person may say, ‘This is Wisconsin’ or ‘this is Hawaii…'”

Despite having her own translations of what she truly thinks the pieces portray, Scully presents each piece without any titles, leaving us not a cliff note or even a shred of confirmation that we are getting the “main idea.” It almost seems a little cruel, as if Scully is sending us on some wondrous wild goose chase. Scully denies any mischievous intent by offering a simple but empowering explanation, “this is your world! I mean, it’s mine while I’m exploring [and creating] it but still…”

In theory, Scully is a builder. She first gravitated towards metalwork and jewelry and applies the same technique to painting. “After doing lots of sculpture, [I asked myself] ‘what if I create space on a two-dimensional plane?’ It gets interesting. It accesses people’s subconscious and what is inside of them,” Scully reveals. During the opening exhibition, the gallery was buzzing with varying theories and custom descriptions of each painting—even eavesdropping was an experience in itself.

Mindscapes is essentially about trust. The audience relinquishes control and allows Scully to offhandedly shepherd them through each piece. However, with the paper pieces, it is Scully who relinquishes control. “The paper is unforgiving,” admits Scully. Each stroke becomes permanent and determined. This turning of the tables is a pleasant shift that adds to the charm of this exhibition. Mindscapes is without narrative, an unassembled puzzle waiting to be pieced together.

Granted a special New Year extension, this week is the last chance to see Mindscapes. So, if you’re in the Chelsea area, be sure to stop by C24 Gallery. Tell them Quiet Lunch sent you!

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Christian Vincent featured as a Top Pick in Create! Magazine

Top Picks: Art Miami and Context 2017

1. Alonsa Guevara (Anna Zorina Gallery)

2. Vitaly Pushnitsky (Marina Gisich Gallery)

3. Anna Valdez (Hashimoto Contemporary)

4. Made by London

5. Zhenya Xia (HG Contemporary)

6. Kathryn MacNaughton (Bau-Xi Gallery)

7. Christian Vincent (C24 Gallery)

  Beyond the Green , 2017  Oil on canvas  36 × 44 in

Beyond the Green, 2017

Oil on canvas

36 × 44 in

8. Thomas Jackson (Jackson Fine Art)

9. Ran Hwang (Pyo Gallery)

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Seçkin Pirim featured in Pulbiber Magazine

Artist Workshops in Istanbul Modern 

Istanbul Modern continues to bring artists together with artists at "Your Perşeneniz" artist workshops sponsored by Ülker. The Artist's Workshop on December 7 is the guest of Seçkin Pirim.

At the workshop of Seçkin Pirim, who invited our perceptions to questioning by focusing on contrasting concepts such as reality, illusion, border, infinite, openness, obscurity, lightness and darkness, participants are exploring depth in the artistic plane inspired by the artist's productions. By putting the papers on a certain plane, they make visual equations that can not be understood as two-dimensional mu or three-dimensional mu, real or a representation at first glance.

"Your Thursdays" Artist Workshops; workshops where artists share their creative processes and artistic experiences with participants, short interviews and artistic practices. Having invited artists to explore the museum, artworks and artistic production processes, Istanbul Modern also recognizes artists and opens up a wealth of experience with them.

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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 :

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.