Assistant Professor Nicole Awai included in exhibition at Sperone Westwater Gallery in New York
Fri. August 19, 2016
Assistant professor Nicole Awai was featured in Sploch, a two-venue exhibition on the Lower East Side curated by Eileen Jeng. The exhibition was on view at Sperone Westwater Gallery from July 7 - August 12, 2016.
Splotch featured artists whose work involves a methodical and controlled process of creating seemingly free form or random daubs and spots. The title of the exhibition is inspired by Sol LeWitt’s fiberglass pieces titled Splotches and the working drawings or “footprints.” Lewitt’s 12-foot long sculpture Splotch #3, 2000, which was previously shown at The Met in 2005, and the working drawings will be exhibited for the first time at Lesley Heller Workspace, the other venue of the exhibition.
Splotch includes works by Nicole Awai, Lynda Benglis, Trudy Benson, Matias Cuevas, Lucky DeBellevue, Alex Dodge, Mary Heilmann, Andreas Kocks, Sol LeWitt, Emil Lukas, Riad Miah, Takesada Matsutani, Landon Metz, Angel Otero, Otto Piene, David Reed, Taney Roniger, Brie Ruais, Julia von Eichel, Terry Winters, and Jian-Jun Zhang.
David Brooks Presents Solo Exhibition in Connecticut
Thu. June 23, 2016
Continuous Service Altered Daily is a site-engaged sculptural array, or, as David Brooks refers to it, an “asteroid field without a distinctive beginning or end.” Brooks has disemboweled a beacon of agricultural technology, a 1976 John Deere 3300 series combine harvester, into hundreds of individual components, ranging from the iconic and specific to the common and standard. He has arranged every part, with not a single piece excluded, in an ambling procession that begins in the Museum’s front plaza, winds through the Atrium, front first-floor galleries, the inner courtyard, and ends in the Sculpture Garden. The project is understood as one continuous action that is expressed in a myriad of sculptural moments. From the macro to the micro, Brooks’s installation concurrently zooms in and out of view, wedging us inside the far off and the up close.
Brooks’s method of presentation offers the machine’s shell and innards in varying degrees of material transformation: 1) in its weathered condition, but with its trademark John Deere green still visible; 2) sandblasted to remove all evidence of wear and tear, returning the object back to its material origin; 3) brass plated; 4) powder coated, elevating the individualized status of the pieces as precious objects. Brooks uses the distinctive form and function of the disassembled combine analogously, allowing it to mirror the philosophical impasse at which we find ourselves as our hyperkinetic era faces an escalating ecological crisis.
David Brooks was previously an Artist-In-Residence of The Visual Arts Center in 2014. Continuous Service Altered Daily is open at The Aldrich Contemporary Art until February 5, 2017.