Cameron Gray - GYMNASTY

Mike Weiss Gallery, in New York’s Chelsea district, is currently presenting ‘GYMNASTY’, a psychedelic arrangement of installations, from the mind of artist Cameron Gray. His work predominantly revolves around the constantly evolving space that the internet has created. A tongue-in-cheek exhibit, presenting a blend of narcissism, celebrity obsession, diet & exercise fads. 

‘You are Happy and Fulfilled’   (2014)

‘You are Happy and Fulfilled’ (2014)

The press release, provided by the gallery, abstains from a typical art write-up and asks the viewers 4 simple questions: 

“Do you strive to open your heart to receive miracles and improve yourself?” 

“Do you feel there is a solution to every problem?” 

“Do you accept yourself even though you make mistakes?” 

“Do you feel like everything happens for a reason?”

Gray opens his exhibit with ‘You are Happy and Fulfilled’ (2014), a blindingly colourful installation inspired by Plato’s cave. The walkway is filled with video screens featuring a 15 minute loop of various pop-culture references, memes and animated gifs. The cave is a hypnotic, multi-sensory experience. Within this chaotic space, the video boards encapsulate you. Their rapid movement and bright flashing lights, overwhelm the senses, but equilibrium is restored by a calming and spiritual voiceover that repeats "You are now in complete control of your life".  The installation gives viewers an opportunity to be immersed into the deepest darkest part of kitsch internet culture that the past decade has given birth to.

‘Fathomable’   (2014),

‘Fathomable’ (2014),

The exhibition features a multitude of video installations, projections and soundtracks. Notable pieces include ‘Fathomable’ (2014), a live fish-tank that is exposed by a silhouette of Venus De Milo, cut out of a piece of granite. Many other granite, marble and wood slabs are used to present video installations in a unique way, void of the conventional rectangular dimensions of a video screen, with a very specific forced perspective.

Cameron Gray lives and works in California, he has presented previous solo exhibitions throughout London, Paris and New York and boasts a wide range group shows throughout the world, as well as a permanent collections owned by clients ranging from Gwen Stefani to Julia Roberts. His art has also made appearances throughout The Huffington Post, ARTnews, Paper Magazine and Vice.

'GYMNASTY' will be on display until January 3, 2015.

-Mike Weiss Gallery, 520 W 24th St

Bloodflames Revisited - Curated By Phong Bui

Paul Kasmin Gallery, in association with Rail Custodial Projects are currently exhibiting ‘Bloodflames Revisited', a collaborative effort curated by Phong Bui, at both of their gallery locations in Chelsea, New York.

Bui is presenting an updated response to the original Exhibit, 'Bloodflames', designed by Frederick Kiesler in March 1947 at the Hugo Gallery in New York. The exhibit was considered to be one of the last collective exhibits of the surrealist movement in New York, featuring work by the likes of David Hare, Arshile Gorky, Roberto Matta and Isamo Noguchi. Kiesler designed the space for the artworks to be presented at unconventional angles and tilts, to allow them to be viewed from new and unfamiliar perspectives. The small rooms in the Hugo Gallery were transformed into infinite space, by removing the angular differences between the floor and ceiling through the use of colour and curved walls, disrupting the standard white box gallery environment.

‘Redemption of the flesh’ - Daniel Joseph Martinez (2008)

‘Bloodflames Revisited’ has been designed as a homage to the original exhibition, but also serves as a contemporary response and continuation of its predecessor. Bui has continued the idea of flipping the conventional boxed, white wall gallery space and has painted the walls of the Paul Kasmin Gallery a rich, burnt yellow, inspired by the colour scheme of the Brooklyn R train seats. A thick layer of hay covers the floor, with a raised, orange catwalk running down the center of the gallery, giving viewers various angles and perspectives of the art, depending on which surface they are treading on. Bui intended for these planes of perspective to be memorable, from the smell of the hay to the height of the catwalk.

The exhibition features some of Paul Kasmin’s regular artists, such as Will Ryman and his monochromatic, flowing sculptures made of polyurethane bullet casings. Roxy Paine’s ‘Incident/Ressurection’, a looping, neon lit sculpture of a random act of violence, that Paine experienced in Brooklyn in 1987. The installation serves as a metaphor for reinvention and self reflection. 

One of the more memorable pieces on display at the 10th Avenue Gallery is Daniel Joseph Martinez’s ‘Redemption of the flesh: It's just a little headache, it's just a little bruise; The politics of the future as urgent as the blue sky.’ An animatronic sculpture installation, made up of three very distinct elements; machine, animal and human. Martinez has fused a fibreglass cast of his arm with a taxidermic rabbit, impaled from mouth to tail, and attached it to a machine controlled pump, which is connected to a barrel filled with fake blood. The machine operates on a multidimensional axis and will spray blood at random sections of wall during 5 minute intervals, essentially recreating a macabre version of a Jackson Pollock action painting. The installation serves as a commentary on the romanticisation of violence in the media and viewers passive participation.

‘Bloodflames Revisited’ will be on display at both Paul Kasmin locations until August 15, 2014.

-Paul Kasmin Gallery, 293 10th Avenue & 515 W 27th Street, New York, NY

Sterling Ruby - SUNRISE SUNSET

Los Angeles based artist Sterling Ruby is currently exhibiting a new collection of work at the Hauser & Wirth gallery in West Chelsea, New York.

'The Cup'  (2013)

'The Cup' (2013)

'SUNRISE SUNSET' is a vast collection of paintings, collages, tapestries, and sculptures made from an array of materials that represent Ruby's successes, failed attempts as well as pieces that have potential for reappropriation. All gargantuan in size, placed in unison with the 24,700 square foot gallery space that Hauser & Wirth boasts.

The title of the exhibit and the works on display portray the parallels ever present in Ruby's life and the current state of the world; permanence and temporality, life and death, innocence and evil, as well as abstract and representational themes. 

'Big Yellow Mama'  (2013)

'Big Yellow Mama' (2013)

'Trough', originally serviced Ruby as a tray used to catch urethane run-off in his studio. It was since refashioned into a macabre depiction of a bronze grave bed. 'Big Yellow Mama' first serves as a playful, bright yellow sculpture reminiscent of a chair seen from the perspective of a baby, however it's true representation is of the electric chair used in the state of Alabama for executions dating from 1927 - 2003. The work is a paradox on what it means to be be a free American under the threat of the judicial system, and their ultimate power over life and death. 

One of the most notable works in the exhibit, 'The Cup' is an enormous sculpture of a teacup, coated in thick, red, flowing stalactites of foam polymer, tilted from it's handle. The cup is suspended in the fleeting moment between containing and pouring out liquid, a parallel between a very temporal and eternal place in time. 'The Cup' is complemented by 'Pillars', a series of modern looking columns coated in the same substance as the teacup, the stalactites age the columns significantly, which reads as a juxtaposition between our relationship between ancient history and present day architecture. Due to their bloody, dripping textures, these everyday objects becomes exponentially more violent upon closer inspection.

Sterling Ruby currently works out of his 'vessel', a studio located in Los Angeles. His work specifically centres around mainstream and sub cultures present in modern America, ranging from prison systems, graffiti art to embroidery, as well as conservative and liberal states. His work has been showcased throughout Europe and North America. He is also consecutively the subject of shows at The Baltimore Museum of Art and the Whitney Biennial. 

'SUNRISE SUNSET' will be on display until July 25, 2014.

- Hauser & Wirth, 511 W 18th St, New York, NY

Kim Joon - Somebody

Emerging Korean artist, Kim Joon, is a modern master of digital manipulation. His latest collection of work, Somebody, in which he explores the fragile relationship between the human body and mind, has recently made its debut at Sundaram Tagore Gallery in Chelsea, New York.

[somebody 4]  (2014)

[somebody 4] (2014)

Joon constructs each piece through the computer animation software, 3D Studio Max, also used to animate films produced by Pixar and Dreamworks. Once the structure for the body is created, the artificial skin is then grafted on. Whilst Somebody is heavy on serpentine textures, Joon chooses from an array of skins, ranging from human, animal to everyday objects such as baseball and handbag surfaces. 

The themes most prevalent in his work revolve around the correlation between tattoo art and luxury brand obsession, as well as the transcendence from ones own body into a higher state of being. Each image features deconstructed human body parts; torsos, ears, legs and arms, consolidated to create abstract figures and forms, which would be impossible to replicate with photography. 

The exhibit also includes a selection of earlier work by Joon. Bird Land (2009) features similarly fragmented bodies with tattoos of luxury brand logos embedded onto the artificial skin, a commentary on the human consciousness's common desires and vices for material objects. 

Kim Joon was born and raised in Seoul, South Korea in 1966. One of Korea's most notable emerging artists, Joon was the subject and headliner of Korean Eye: Contemporary Korean Art at the Saatchi Gallery in London. His work has also been featured throughout his homeland as well as Taiwan and New York. 

'Somebody' will be on display until July 12, 2014

-Sundaram Tagore Gallery, 547 W 27th Street, New York, NY

Eugenio Merino - Always Shameless

The newest exhibition at UNIX Gallery, entitled ‘Always Shameless’, has debuted surrounding a flurry of legal drama for artist Eugenio Merino, after being taken to court to defend freedom of speech in his native Spain. In 2011, Merino revealed two highly publicised sculptures of Spanish dictator Francisco Franco, preserved in Coca-Cola refrigerator/coffin hybrids. Merino was sued by The Fundación Nacional Francisco Franco, the organisation responsible for preserving the legacy of Franco. He was taken to court on numerous occasions and eventually went on to win every case.

'Always Bush'   (2014)

'Always Bush'  (2014)

Throughout his legal obstacles, Merino continued creating multiple sculptures of controversial political figures and dictators, which make up the exhibition. The title of the exhibition is a direct reference to the 1993 Coca-Cola slogan, ‘Always’, and the choice to combine politics with the world’s most recognisable brand allows the nature of the work to become more accessible to a larger audience through the lens of pop culture.

The exhibition’s main feature, ‘Always Motherfuckers’ is a series of Coca-Cola refrigerators encasing the likes of George W. Bush, Vladmir Putin, Fidel Castro and Franco to name a few, all suspended upright in an eerie, unconscious state. The work gives a wry look at how easily the legacies of these tyrannical figures are kept alive. Jonathan Jones of The Guardian stated “It seems incredible that General Franco is still oppressing artists in Spain beyond the grave.” ‘Egomaniacs’ consists of two miniature statues of Kim Jong Ill and his son/successor Kim Jong Un with a spotlight projecting their larger than life statues onto a blank wall.

Eugenio Merino was born in Spain in 1975 and graduated from the Complutense University of Madrid. He has been the subject of many solo and group exhibits worldwide ranging from Madrid, New York and much of Europe. He works predominantly from his studio in Madrid, Spain.

The exhibit will run until July 12, 2014.

-UNIX Gallery, 532 W 24th St, New York NY

Katja Loher - BANG BANG

C24 Gallery are currently presenting artist Katja Loher's first solo show in New York, entitled BANG BANG. 

Loher has chosen to explore the fragile health of Planet Earth by hypothesizing the future of the food industry and the creation of artificial food sources, in the event that the natural pollinators (bees, butterflies, hummingbirds) fall victim to extinction.

'CCD-Bubble'  (2013)

'CCD-Bubble' (2013)

The exhibit is compromised of video installations featuring green-screen shot footage with synchronised dancers, depicted as insects and birds, moving, dancing and spelling various words with their bodies. One of the sentences the dancers spell, "Why did the bees leave us?", is a phrase inspired by poet Pablo Neruda's Book of Questions. The mood for the exhibit is set by the calming chime soundtrack that plays softly in the background, as to not be to obvious or distracting, but to gradually acclimate viewers into the futuristic and conceptual worlds.

'Bang Bang Planets'  (2014)

'Bang Bang Planets' (2014)

Each video is presented behind a circular frame, allowing the installations to break free of the conventional rectangular dimensions. This allows viewers to disregard the technology being utilised in order to be engulfed into the mini-universes Loher has created. Blank spheres, described by the artist as Videoplanets, are suspended from the ceiling, utilised as screens for the projections. The wall mounted videos are displayed inside hand-blown glass miniverses, as if to resemble soap bubbles, beautiful and ephemeral, but delicate and only existing for a minuscule period of time. 

Due to the spherical nature of the objects, each video refracts off the glass differently at every angle, giving warped and abstract glimpses into the seemingly peaceful, yet artificial worlds, juxtaposed with the harsh reality that our current world faces. 

Katja Loher, 35 is native to Zurich, Switzerland and is currently based in New York City. Loher has been the feature of many solo and group exhibits across the world. This is Loher's first exhibit with C24 Gallery.

The exhibition will conclude on June 21st, 2014.

- C24 Gallery, 514 W 24th Street, New York, NY

Phillipe Pasqua - Portraits

Renowned French portrait artist, Phillipe Pasqua, is currently exhibiting a collection of work ranging from 2010 - 2012 at UNIX Gallery in Chelsea, New York. 

'Philippine'  - 2012

'Philippine' - 2012

Pasqua draws much of his inspiration for his portraits from bruised flesh and bone, choosing palettes of bleeding reds, purples, beige and blues. Each painting transcends the canvas and appears as a macabre vision of weeping human flesh. His brushstrokes leave violent, sweeping motions and the subjects in his larger-than-life portraits all carry the same melancholy expressions. Pasqua chooses his subjects very carefully and specifically for his portraits, ranging from himself, cancer patients, children to transgender individuals, in order to represent what makes each of the subjects inherently human, rather than what makes them different.

Among the portraits, a series of skulls line the wall. Stripped of their human features, each skull is embellished with quirks and variances, giving them distinctive personalities. Covered in colourful tattoos and precious metals, the skulls represent the macabre reminder of the limited time each human has on earth and the marks their existence will leave behind. 

The overarching theme of his work is not so much on the individuals, but the knowledge that the flesh and certainty of death are the basis of life and what connects every living creature together. 

Phillipe Pasqua is a self-taught artist, born in Grasse, France in 1965. His distinctive work has gained him worldwide acclaim and has been recognised by renowned publications such as The New York Times and Vogue magazine, as well as his first retrospective at the Ahlers Foundation in Hanover, Germany in 2010. He currently resides in Paris. 

The exhibit will be on display at UNIX Gallery until June 7.

- UNIX New York, 532 W 24th Street, New York, NY

Ultra Violet - The Studio Recreated

Photo Credit: Lizzy Sullivan

Photo Credit: Lizzy Sullivan

To celebrate the 50th anniversary of The Factory, Andy Warhol’s famous studio, The Dillon Gallery in Chelsea, New York, are currently exhibiting ‘Ultra Violet - The Studio Recreated’, a showcase of artist and Factory "superstar" Ultra Violet's Chelsea studio, offering a glimpse into the life of the colourful pop art maven. 

The entrance to the exhibit is decorated with a wide range of photographs of Ultra Violet during the Factory era, as well as candid images with many of her famous muses, some of the 20th century's most celebrated artists, Salvador Dali, Roy Lichtenstein and, of course, Andy Warhol to name a few. 

Ultra Violet -' Self Portraits ' (2012)

Ultra Violet -'Self Portraits' (2012)

The exhibit features an array of work, spanning over five decades, ranging from sculptures, prints, neon and personal photographs, tape recordings and various found objects. 'Self Portraits' (2012) is made up of a series of neo-baroque style mirrors, with words "self portrait" and "selfie" adorned onto the glass, in various sizes, layouts and colours. The mirrors are designed to empower and also elude viewers into their own distorted image of reality. The mirrors say "you are real, you are not real, but enjoy your illusion.", as Ultra Violet stated when discussing the concept behind the piece.

Another large portion of the exhibit is made up of her ‘IX XI’ sculptures (2011), seen in different sizes and colours. The sculptures are designed as a tribute to the 10th anniversary of the tragedy of 9/11. She stated that the choice to inscribe the date in Roman Numerals was her way of creating a regal remembrance of the horrific events of that day. One of these sculptures is currently on display at the 9/11 Memorial Museum.

Born Isabelle Collin Dufresne in Grenoble, France, 78 year old Ultra Violet is also a best selling author and published her memoir, 'Famous For Fifteen Minutes', in 1988, detailing her early life in France, the rebellion against her aristocratic upbringing, including being exorcised by a Catholic priest in 1948, and the chaotic years she spent after moving to New York, her time with Warhol and the other eccentric Factory members. The book has been reissued seventeen times and has also been adapted into an Opera. 

Ultra Violet currently operates from her studio in Chelsea as well as a location in Nice, France.

The exhibition will run until June 3rd

-Dillon Gallery, 555 W 25th St, New York

Yves Klein & Andy Warhol - Fire & Oxidation Paintings

The Skarstedt Gallery have expanded their locations on New York's Upper East Side and London to a brand new space in New York's historic art district, Chelsea. Their inaugural exhibit, 'Fire and Oxidation Paintings', features experimental artwork by artists Yves Klein and Andy Warhol from various periods of time ranging from 1961-1978. 

Yves Klein - 'F 121' (1962)

Yves Klein - 'F 121' (1962)

The earliest pieces in this exhibit are that of Klein's Fire Paintings, made through strenuous experimentation in France in the early 1960s, where he began experimenting with fire as an art medium. With a fireman standing close by his side, Klein used a large blow torch to burn abstract shapes and objects into large pieces of cardboard, creating a collection of haunting and ethereal figures. The finished work bears a strong resemblance to photo negatives as well as heliographs, but with the use of fire, rather than light.

Warhol first delved into abstraction by focusing on various scientific experiments the following decade. He was mainly interested in the use of human urine as a catalyst on sheets of copper foil and metallic paints, now famously referred to as his 'Piss Paintings'. Warhol created these works as direct parodies of Jackson Pollock's famous splash paintings, with the urine becoming his original take on abstraction, which dominated the New York art scene in the 1950's. 

Andy Warhol - 'Oxidation Painting (Diptych)' (1978)

Andy Warhol - 'Oxidation Painting (Diptych)' (1978)

The paintings were made by laying canvas onto the floor, coating them with copper based paints and having his assistants, or visitors to his famous factory, urinate directly onto them, while the paint was still fresh. As the canvas dried, the oxidised copper would change hues to vivid greens and deep bronzes. Warhol rarely used his own urine, as he considered it too much work, having to know exactly where to urinate. Later on, Warhol unsuccessfully experimented with painting urine directly onto canvases with brushes, but it proved to be too difficult and the results were underwhelming. 

'The Fire and Oxidation Paintings' exhibit will be on display at the new Skarstedt Gallery in Chelsea until June 21st. 

Skarstedt Gallery, 550 W 21st Street, New York, NY, 10011

Andy Warhol - 'Oxidation Painting' (1978)

Andy Warhol - 'Oxidation Painting' (1978)

Gerhard Demetz - The Invocation

The Jack Shainman Gallery have collaborated for the second time with artist Gerhard Demetz, for his new solo exhibition, titled 'The Invocation'.

Italian born Demetz explores themes of self realisation through the use of wood carved sculptures of young children. Each child is raised on a platform to bring them to eye level with the viewer, which give the lifelike statues a sense of power and control. The sculptures have very specific objects associated with them, juxtaposed with their childhood innocence, one child holds a gun in his mouth, two others have makeup smeared over their eyes, and another larger than life statue holds a belt in his outstretched arm.

 'Mother's Darling' (2014)

 'Mother's Darling' (2014)

The expressions on each of their faces range from unemotional gazes to the look of grief and complete sadness. One particular piece 'Mother's Darling' depicts a young boy, no older than six, crying black tears with an expression of devastation on his face. Demetz states that he chose children as his subject matter, as after the age of six, the emotional spectrum of children expands and their self realisation begins to evolve. 

Each statue is carved from multiple pieces of wood, stuck together to symbolise building blocks, similar to a jigsaw puzzle or lego blocks, as well as a symbolic representation of their existence. There are many gaps and holes in each statue, which is intentionally designed to represent a loss of innocence and 'the lost fragments of their being', as the official press release states. 

The exhibit will be on display at the Jack Shainman Gallery until May 31.

Jack Shainman Gallery, 513 W 20th Street, New York, NY

Desire Obtain Cherish - We Are Known By The Company We Keep

Jonathan Paul aka Desire Obtain Cherish (DOC), was born in Salinas, California in 1975 and graduated from Parson's School of Design with a Bachelor of Fine Arts. His first solo show in Los Angeles in 2011 has since led to features at various local and international art shows. He has subsequently developed a reputation for being one of the art world's bad boys, not afraid to poke fun at his critics, collectors and historians. 

'Waste of Good Wall Space'  (2013) - Desire Obtain Cherish

'Waste of Good Wall Space' (2013) - Desire Obtain Cherish

The LA based pop sculptor uses his artistic pseudonym as a commentary on the standard cycle of consumerism, which is prevalent in his extensive back-catalogue. His most recent exhibit, 'We Are Known By the Company We Keep', at UNIX gallery in Chelsea, New York, deals predominately with our society's obsession with wealth, body image and fame, as well as everything that comes as a result (drug abuse, sex and self-indulgence).

The exhibit is truly an immersive experience, as the gallery is pumped with a sweet smelling aroma, which compliments the glossy, bright and bubbly coloured art pieces that hang on the wall, as well as an array of sculptures and installations. 

'Chrome Meltdown Mini'  (2014) - Desire Obtain Cherish

'Chrome Meltdown Mini' (2014) - Desire Obtain Cherish

The tone for the exhibit is immediately set with the first piece, 'Waste of Good Wall Space', which is on display in the front window. Two immediately recognisable acrylic iPhone text bubbles read: "Looks like this is a waste of good wall space to me." The reply stating: "I know right? I’m a decent wall and I think I deserve better art." The exhibit also features 'Intensive Care Units', opulent gold and nickel plated IV drips, with logos of designer clothing and luxury car companies embossed onto each bag, an accurate depiction of our obsession with brand and status. 

Each piece is a very intentional tongue-in-cheek critique on the current state of the art scene, as well as a broader look at Westernised society. The work is a mixture of conceptual, pop and street art, with many appropriated styles and images. 

'We Are Known By the Company We Keep' will be on display until May 6, 2014.

- UNIX New York, 532 W 24th Street, New York NY

'The Game Is Completed'  (2014) - Desire Obtain Cherish

'The Game Is Completed' (2014) - Desire Obtain Cherish

The Real Estate Show Was Then: 1980

The James Fuentes Gallery in New York's Lower East Side has recently opened a new exhibition, which features artwork originally displayed in a guerrilla art show known as The Real Estate Show, which opened on January 1st 1980 at 123 Delancey St.

Becky Howland,  The Real Estate Show  Poster, 1980

Becky Howland, The Real Estate Show Poster, 1980

A troupe of artists and civil rights activists, known as ‘Colab', banded together to curate The Real Estate Show, which was held in an unoccupied Government owned building, with no prior consent being sought from The City. The show served as a protest, with the main theme present in the original exhibit centring around the social injustices of New York City's real estate industry. The artworks feature subjects of racial inequality, corruption, anti-capitalism, gentrification and police brutality. The exhibition ran for less than 2 days after it was discovered by the New York City Department of Housing, which resulted in the building being bolted shut and the artwork seized.

The artworks would be fairly unremarkable when taken out of context, but displayed together, the gritty and unrefined energy they possess translates in a very powerful way, truly giving viewers an insight into the economic decay that the residents of the Lower East Side lived through in the 1970s and ’80’s.

A varied selection of the original artworks are being displayed at James Fuentes, as well as recreated pieces.

The exhibition runs until April 27, 2014

- James Fuentes Gallery, 55 Delancey Street, New York, NY

Jules Olitski - Mitt Paintings

The Paul Kasmin Gallery has recently opened a new exhibition featuring selected works by Jules Olitski (1922 - 2007). The paintings showcase Olitski's extraordinarily unique "Mitt Pictures". The exhibit catalogs work by the artist from the years 1988-1992 and features never before seen paintings. 

Olitski, (Birth name Jevel Demikovski) was born in Ukraine in 1922 and immigrated to the United States one year later. He studied at various art schools, such as Pratt Institute and the National Academy of Design in New York. He subsequently went on to have his first exhibition at Galerie Huit, Paris in 1951. 

Jules Olitski,  Ascendent Regard , 1989,  acrylic on canvas

Jules Olitski, Ascendent Regard, 1989, acrylic on canvas

Olitski explored abstraction with various textures and iridescent colours, experimenting with regular household objects such as mops and brooms to apply paint. The paintings on display at Paul Kasmin Gallery were created by mixing metallic paint with a thick acrylic gel and spreading it spontaneously around the canvas with a pair of painters mitts. Each painting has its own distinct features, whether that be the colour palette, the technique in which the paint was spread or the thickness of the paint, showcasing the experimental nature in which they were created. These artworks truly need to be seen to be appreciated. The colours, textures and overall visual experience transforms with every angle they are viewed from. 

The exhibition runs until April 19, 2014.

- Paul Kasmin Gallery, 515 W 27th St, New York, NY

Jules Olitski,  Eternity Domain,  1989, acrylic on canvas              

Jules Olitski, Eternity Domain, 1989, acrylic on canvas              

Jordan Wolfson - Robot Installation

A new exhibit at the David Zwirner gallery in Chelsea, NY opened up earlier this month featuring a full size, lifelike female robot.

@ Liquid Silver | YouTube

@ Liquid Silver | YouTube

Artist Jordan Wolfson, who is best known for exploring a wide range of mediums such as sculpture, video and installations, created the robot, which features state of the art animatronics and facial recognition. The robot, dressed in a dirty white dress and a demonic dark green mask, dances and lip synchs to music and an audio track that plays throughout the 7 minute performance. She also has the ability to track your movement, her wide eyes will follow you as you move back and forth throughout the room.

The performance is appointment based and needs to be booked about 1 week in advance, although by chance, I was lucky enough to get a private viewing this morning. The experience was overwhelming to say the least, as viewers are encouraged to maintain eye contact with the robot for the duration of the performance, "creating a different kind of viewing experience that intensifies the importance of the gaze," the official press release stated. 

The exhibit was created in conjunction with Spectral Motion in California and will be on display until April 19. 

- David Zwirner Gallery, 525 W 19th St, New York, NY