P!

“Permutation 03.3: Re-Production” images

Fri, 03 May 2013 23:00:00 -0400

"Permutation 03.3: Re-Production," Exhibition view. Photo by Naho Kubota

Marc Handelman; Extrusion/Drift (2013); Oil and retroflective screen glass on canvas; 61 ¾ × 87 ½ in.; Unique

Arthur Ou; Double Light Leak 2 (2010); Chromogenic print; 30 × 40 in.; Edition 1 of 5

Peter Rostovsky; Tango Red (2012); Photoshop painting created with Wacom tablet; 4319 × 6000 pixels; Unlimited edition; Original, full-resolution file is free and available at bit.ly/YZyhwN

"Permutation 03.3: Re-Production," Exhibition view

Peter Rostovsky; Night Blossoms (2012); Photoshop painting created with Wacom tablet; 3014 × 3600 pixels; Unlimited edition; Original, full-resolution file is free and available at bit.ly/11Im5DR

Peter Saville's sleeve design for New Order's "Power, Corruption & Lies" (1983)

"Permutation 03.3: Re-Production," Exhibition view

"Permutation 03.3: Re-Production," Exhibition view featuring "Aggregate" (2013) by Marc Handelman. Photo by Naho Kubota

Arthur Ou; Untitled (2013); Gelatin-silver print; 8 × 10 in.; Edition 1 of 5

“Permutation 03.3: Re-Production” images

“A Dialogue” by Peter Rostovsky

Fri, 03 May 2013 22:36:00 -0400

“A Dialogue” by Peter Rostovsky

Permutation 03.3: Re-Production

Wed, 17 Apr 2013 09:24:00 -0400

Marc Handelman, Arthur Ou, Peter Rostovsky
April 28 – June 9, 2013

View additional images

The third exhibition of P!’s six-month cycle on copying rethinks the double exposure as democratic gesture: what it means for an image to be replicated instantaneously, ad infinitum, or uniquely limited. In Peter Rostovsky’s recent digital paintings, a speculative model of unlimited distribution and accessibility for all refigures the traditional labor of underdrawing and painterly technique. Marc Handelman’s trompe-l’oeil surfaces — included here both on canvas and as a site-specific installation on glass — incorporate reflective painting grounds that recast the viewing experience as fickle and dependent on context. In Arthur Ou’s analog photographs, multiple exposures and doubled mark-making disturb the flattened, singular image. Subverting expectations of form and genre, Permutation 03.3 stages an at-odds, dialogic engagement with classical and contemporary strategies of production and distribution.

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Peter Rostovsky (b. 1970, St. Petersburg, Russia) works in a variety of disciplines that include painting, sculpture and installation. His work has been exhibited at The Walker Art Center, MCA San Diego, The New Orleans Museum of Art, PS1/MoMA, Artpace, The Santa Monica Museum of Art, the ICA Philadelphia, the Blanton Museum of Art, SMAK Museum in Ghent and galleries including Sara Meltzer, Elizabeth Dee, The Project, Danese, Salon94, and Gio Marconi. He teaches painting at New York University.

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Marc Handelman (b. 1975, Santa Clara, CA) has exhibited at PS1/MoMA, The Studio Museum in Harlem, The Dayton Art Institute, The Orlando Museum of Art, The Rubin Museum, The Royal Academy of Art in London, and The American Academy of Arts and Letters. He has had recent solo exhibitions at Sikkema Jenkins & Co., New York, and RECEPTION, Berlin, Germany. He is currently a faculty member at Mason Gross School of Arts, Rutgers, and a graduate critic at the School of the Arts at Columbia University.

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Arthur Ou (b. 1974, Taipei, Taiwan) is an artist and writer based in New York City. He has exhibited internationally, most recently in Photography Is Magic!, curated by Charlotte Cotton, as part of the 2012 Daegu Photography Biennial in Daegu, Korea, and has been featured in publications including Aperture, Blind Spot, Art in America, and The Photograph As Contemporary Art (2nd edition). He has published critical texts in Aperture, Afterall.org, Artforum.com, Bidoun, Fantom, Foam, Words without Pictures, and X-Tra. He is the Director of BFA Photography and Assistant Professor in the School of Art, Media, and Technology at Parsons The New School for Design. Ou’s work is concurrently on view in a solo show at Brennan & Griffin, 55 Delancey St, New York.

Download exhibition press release

Download exhibition checklist

Download “A Dialogue” by Peter Rostovsky

Peter Rostovsky
Night Blossoms, 2012
Photoshop painting created with Wacom tablet
3014 x 3600 px (As lightbox: 28.5 x 34 in.)
Unlimited edition

Arthur Ou
Double Light Leak 1 and Double Light Leak 2, 2010
Chromogenic prints
30 x 40 in. each
Edition of 5 each

Marc Handelman
Extrusion/Drift, 2013
Oil paint and retroflective screen glass on canvas
61.75 x 87.5 in.
Unique

“Permutation 03.2: Re-Place” exhibition views

Wed, 13 Mar 2013 10:29:00 -0400

"Permutation 03.2: Re-Place", Exterior view featuring storefront installation "Dots!" (2013) by Margaret Lee. Photo by Naho Kubota.

Detail of "Dots!" (2013) by Margaret Lee

"Permutation 03.2: Re-Place", Exhibition view featuring "Pieta in Reverse" (2012) by Åbäke and "Versions (Mandarin version)" (2013) by Oliver Laric. Photo by Naho Kubota.

"Permutation 03.2: Re-Place", Exhibition view featuring "Berlin Remake" (2005) by Amie Siegel and "Pieta in Reverse" (2012) by Åbäke. Photo by Naho Kubota.

"Permutation 03.2: Re-Place", Exhibition view featuring "Berlin Remake" (2005) by Amie Siegel. Photo by Naho Kubota.

"Permutation 03.2: Re-Place", Exhibition view featuring "Berlin Remake" (2005) by Amie Siegel, "Pieta in Reverse" (2012) by Åbäke and "Versions (Mandarin version)" (2013) by Oliver Laric.

"Permutation 03.2: Re-Place", Exhibition view featuring "Berlin Remake" (2005) by Amie Siegel and "Pieta in Reverse" (2012) by Åbäke. Photo by Naho Kubota.

Detail of "Pieta in Reverse" (2012) by Åbäke.

Detail of "Pieta in Reverse" (2012) by Åbäke

"Permutation 03.2: Re-Place", Exhibition view featuring "Pieta in Reverse" (2012) by Åbäke, "Versions (Mandarin version)" (2013) by Oliver Laric, and "Berlin Remake" (2005) by Amie Siegel.

“Permutation 03.2: Re-Place” exhibition views

Permutation 03.2: Re-Place

Tue, 26 Feb 2013 19:12:00 -0500

March 8–April 21, 2013

The second exhibition of P!’s six-month cycle on copying focuses on replicas, remakes, and recurrences. Margaret Lee’s uncanny storefront display juxtaposes graphic backdrop painting with simulated fruit, while Oliver Laric premieres a new Mandarin version of his distributed video essay, Versions (2009–onward). London-based collective Åbäke captures silicon molds for a Danish/Chinese Pietà in “hacked intaglio,” and Amie Siegel’s Berlin Remake (2005) approaches East German filmic precedents as contemporary scores for reprise and re-performance. The presentation of these disparate works at P! establishes frameworks for considering authenticity and origination across a variety of cultural contexts.

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—

Åbäke (founded 2000, London) is a transdisciplinary collective of four
graphic designers. In addition to working with musicians, artists, fashion labels, and institutions, they have initiated and been involved in multiple collaborative formats including Sexymachinery (an architectural production), Kitsuné (a record label), Dent de Leone (a publishing house) and Drawing Room Confessions (an art journal).

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Oliver Laric (b. 1981, Innsbruck, Austria) lives and works in Berlin. Recent solo and group exhibitions include: Detours of the Imaginary, Palais de Tokyo, Paris (2012); The Imaginary Museum, Kunstverein München (2012); Lilliput, High Line, New York (2012); and Frieze New York (2012). Laric is a co-founder of the vvork platform (www.vvork.com).

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Margaret Lee (b. 1980, New York) has exhibited works and organized exhibitions at MoMA/PS1, White Columns, X-Initiative, Performa, Jack Hanley Gallery, and The Green Gallery, Milwaukee. She founded the artist run space 179 Canal in 2009 and is currently a partner in the gallery 47 Canal. Lee was recently selected by Beatrix Ruf and Peter Eleey as the recipient of the 2012 Artadia NADA prize.

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Amie Siegel (b. 1974, Chicago, IL) re-orientates the fictions within documentary practices. Her work has been exhibited at institutions including MoMA/PS1, Walker Art Center, Hayward Gallery, Whitney Museum of American Art, and KW Institute for Contemporary Art. She has been a fellow of the DAAD Berliner-Künstlerprogramm, the Guggenheim Foundation, and a recipient of the ICA Boston’s Foster Prize.

“Permutation 03.1: Re-Learning” transforms P! into a...

Wed, 13 Feb 2013 00:19:00 -0500

"Permutation 03.1: Re-Learning," exhibition view with reading room designed by Rich Brilliant Willing. Photo by Naho Kubota.

Opening of "Permutation 03.1: Re-Learning," 7 February 2013. Photo by Naho Kubota.

Reading group, 13 February 2013: Artist Sara Greenberger Rafferty leads a discussion on “The Deposition of Richard Prince in the Case of Cariou V. Prince et al”

"Permutation 03.1: Re-Learning," exhibition view with reading room designed by Rich Brilliant Willing. Photo by Naho Kubota.

"Permutation 03.1: Re-Learning," exhibition view with reading room designed by Rich Brilliant Willing. Photo by Naho Kubota.

"Permutation 03.1: Re-Learning," exhibition view with reading room designed by Rich Brilliant Willing. Photo by Naho Kubota.

"Permutation 03.1: Re-Learning," exhibition view with Judith Barry's "For when all that was read was … so as not to be unknown."

"Permutation 03.1: Re-Learning," exhibition view with Judith Barry's "For when all that was read was … so as not to be unknown." Photo by Naho Kubota.

“Permutation 03.1: Re-Learning” transforms P! into a reading room from February 7–March 2, 2013

Permutation 03.1: Re-Learning

Sat, 26 Jan 2013 16:03:00 -0500

From February 7 – March 2, 2013, P! transforms into a custom-made reading room, created by Rich Brilliant Willing. Investigating copying, translation, counterfeiting, and other gestures, the space hosts a public program of twice-weekly reading groups. These events juxtapose literary, journalistic, academic, and scientific readings from multiple cultural positions as a discursive groundwork for the subsequent exhibitions. Discussion group leaders include Sarah Greenberger Rafferty (Artist), Ruba Katrib (Curator, SculptureCenter), Sarah Schulman (Writer), Ben Smith (Editor-in-chief, BuzzFeed), editorial consultancy Superscript, Herb Tam (Curator and Director of Exhibitions, Museum of Chinese in America), Nader Vossoughian (Architectural historian & theoretician, NYIT), and Xin Wang (Research assistant, Metropolitan Museum of Art). The texts discussed are available at P! for purchase or perusal, and will be collected into a bootleg catalogue/reader. The reading room is open to the public Thu – Sun, 12–6pm, and offers free wifi.

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Schedule of events:

Wednesday, February 13, 6:30–8:30pm
Sara Greenberger Rafferty (Artist) leads a discussion on “The Deposition of Richard Prince in the Case of Cariou V. Prince et al” (excerpt)

Saturday, February 16, 3–5pm
Nader Vossoughian (Architectural historian & theoretician, NYIT) leads a discussion on Walter Benjamin’s “The Arcades Project” (excerpt)

Wednesday, February 20, 6:30–8:30pm
Editorial consultancy Superscript (Molly Heintz, Aileen Kwun, Avinash Rajagopal, Vera Sacchetti) leads a discussion on Orhan Pamuk’s “The Black Book” (excerpt)

Saturday, February 23, 3–5pm
“Copied in China”: Herb Tam (Curator and Director of Exhibitions, Museum of Chinese in America) and Xin Wang (Research assistant, Metropolitan Museum of Art) lead a discussion on a range of texts examining copying in historical and contemporary Chinese culture (excerpts)

Wednesday, February 27, 6:30–8:30pm
Ruba Katrib (Curator, SculptureCenter) leads a discussion on Michel Houellebecq’s “The Possibility of an Island” (excerpt)

Friday, March 1, 6:30–8:30pm
Ben Smith (Editor-in-chief, BuzzFeed) leads a discussion on Richard Dawkins’ “The Selfish Gene” (excerpt)

Saturday, March 2, 3–5pm
Exhibition closing event with writer Sarah Schulman (excerpt)

For more information, download a full press release and program of events here.

Permutation 03.x

Sat, 12 Jan 2013 01:47:00 -0500

From February through July 2013, the exhibition space P! will conduct an extended inquiry into the nature and means of copying. Remakes vs knockoffs, transcription vs plagiarism, mimesis vs mimicry — the status of the copied act shifts from positive to negative and back again, depending on context and culture. Multiples of a religious or political icon extend their reach and efficacy, whereas a duplicated file, painting, handbag, or cityscape violates legal and ethical strictures. Questions of capital and power lie at the core: who owns the original vs who is producing the copy.

Offering counterpoints from disparate cultural positions, P! explores the copy through a cycle of events and exhibitions. The space’s location in Chinatown — only blocks from the daily trade of counterfeit luxury goods — informs and shapes these ongoing programs. For February 2013, P! reopens as a reading room: a series of book clubs and reading groups discuss topics ranging from Ancient Athens to Chongqing to Canal Street. Beginning in March 2013, P! presents a changing sequence of exhibitions touching on historical and contemporary aspects of copying. Key in this constellation is the cross-pollination of works from different contexts of cultural production that resonate with and reference each other in unexpected ways. Activated by works and strategies that rupture the neutral space of display, the exhibitions perform the concerns of multiplicity and replication at hand.

Participants in the six-month cycle include Åbäke, Judith Barry, Thomas Brinkmann, Katarina Burin, Marc Handelman, Ruba Katrib, Arthur Ou, Sara Greenberger Rafferty, Rich Brilliant Willing, Peter Rostovsky, Sarah Schulman, Amie Siegel, Ben Smith, Société Réaliste, Superscript, Herb Tam, Niels Van Tomme, Nader Vossoughian, Xin Wang, and others.

For more information, download a full press release and program of events here.

P! in Best of 2012 — Artforum, Art in America, and Frieze

Sat, 12 Jan 2013 01:00:00 -0500

Since opening in September 2012, P! has been included in “Best of 2012” lists by Artforum, Art in America, and Frieze magazine. More information below:

Artforum Best of 2012, December 2012

Art in America, Top 10 of 2012

Frieze magazine

Exhibition views of “Possibility 02: Growth,” Part...

Thu, 20 Dec 2012 16:12:00 -0500

Lecture, "The Hidden Logic of Urban Property," by Roger Sherman, 19 Dec 2012

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Bec Brittain, Slow and Steady Wins the Race, and Don Davis

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Aaron Gemmill, Bec Brittain, Slow and Steady Wins the Race, and Don Davis

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Katarzyna Krakowiak, Aaron Gemmill, and Slow and Steady Wins the Race

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Katarzyna Krakowiak and Aaron Gemmill

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Katarzyna Krakowiak and Aaron Gemmill

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Don Davis, Slow and Steady Wins the Race, Sarah Oppenheimer, and Aaron Gemmill

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Don Davis, Slow and Steady Wins the Race, and Sarah Oppenheimer

Exhibition view, "Possibility 02: Growth," Part VI, showing work by Aaron Gemmill, Slow and Steady Wins the Race, and Bec Brittain

Exhibition view, "Possibility 02: Growth," Part VI

Exhibition views of “Possibility 02: Growth,” Part VI

“The Hidden Logic of Urban Property” with Roger Sherman

Mon, 17 Dec 2012 12:53:00 -0500

Remote lecture by Roger Sherman
Moderated by Sarah Oppenheimer
Wednesday, Dec 19, 6:30pm
P!, 334 Broome St, New York 10002
Free and open to the public

Live from Los Angeles, architect and urban designer Roger Sherman will speak at P! on architecture, real estate, and the complex web of negotiations that generate the built environment. The lecture will be moderated by artist Sarah Oppenheimer.

Roger Sherman is principal of Roger Sherman Architecture and Urban Design in Los Angeles. His work has been featured on CNN; in Newsweek, Fast Company, Metropolis, and other magazines, as well as in numerous books, including The Infrastructural City and On Farming, both from Actar. His Duck-and-Cover and Playa Rosa projects were exhibited at the 2009 International Architecture Biennale in Rotterdam; and the 2010 Venice Biennale, respectively.

Sherman is also Co-Director of cityLAB, an urban thinktank at UCLA, where he is also Adjunct Professor. He is author of several books, including L.A. Under the Influence: The Hidden Logic of Urban Property (Univ. of Minn., 2010); Re: American Dream: New Housing Prototypes for Los Angeles (Princeton Architectural Press); and co-editor, with Dana Cuff, of Fast Forward: After the Master Plan (Princeton Architectural Press, forthcoming).

P! featured in Artforum's Best of 2012!

Sun, 16 Dec 2012 13:14:11 -0500

Part V of “Possibility 02: Growth,” a...

Sun, 16 Dec 2012 13:13:00 -0500

Part V of "Possibility 02: Growth," a pop-up-shop-within-an-exhibition by Slow and Steady Wins the Race

Part V of "Possibility 02: Growth," a pop-up-shop-within-an-exhibition by Slow and Steady Wins the Race

Part V of "Possibility 02: Growth," with "Deluxe Standard Version" (2012) by Slow and Steady Wins the Race

Part V of "Possibility 02: Growth," with "Deluxe Standard Version" (2012) by Slow and Steady Wins the Race

Installation view of "Possibility 02: Growth," Part V

Opening reception of "Possibility 02: Growth," Part V, with Slow and Steady Wins the Race, 12 December 2012

Part V of “Possibility 02: Growth,” a pop-up-shop-within-an-exhibition by Slow and Steady Wins the Race

Part V of “Possibility 02: Growth”, in which...

Sat, 15 Dec 2012 00:32:00 -0500

Part V of “Possibility 02: Growth”, in which conceptual fashion label Slow and Steady Wins the Race takes over P! More photos soon

Exhibition views of Part IV of “Possibility 02:...

Mon, 03 Dec 2012 22:56:00 -0500

Part IV of "Possibility 02: Growth", Exterior view

Part IV of "Possibility 02: Growth", Exterior view

Exterior view of "C-010100" (2012) by Sarah Oppenheimer, which insets the storefront façade, disrupting the relationship between the street and exhibition space

Interior view of "C-010100" (2012) by Sarah Oppenheimer, which insets the storefront façade, disrupting the relationship between the street and exhibition space

Exhibition view with "Provopoli (Wem gehört die Stadt)" (2012) by Aaron Gemmill and "Maxhedron" (2012) by Bec Brittain

Detail of "Provopoli (Wem gehört die Stadt)" (2012) by Aaron Gemmill

Exhibition view with "Provopoli (Wem gehört die Stadt)" (2012) by Aaron Gemmill and "Maxhedron" (2012) by Bec Brittain

"Maxhedron" (2012) by Bec Brittain

Exhibition view with "Maxhedron" (2012) by Bec Brittain, "C-010100" (2012) by Sarah Oppenheimer, and "Provopoli (Wem gehört die Stadt)" (2012) by Aaron Gemmill

Part IV of "Possibility 02: Growth", Exterior view

Exhibition views of Part IV of “Possibility 02: Growth” featuring work by Aaron Gemmill, Katarzyna Krakowiak, Sarah Oppenheimer, and Bec Brittain

Photo

Tue, 20 Nov 2012 12:30:00 -0500

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand". Performance, 17 November 2012

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand". Performance, 17 November 2012

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand" and Aaron Gemmill's "Provopoli"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand" and Aaron Gemmill's "Provopoli"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand" and Aaron Gemmill's "Provopoli"

Part II of "Possibility 02: Growth" with Katarzyna Krakowiak's sound sculpture, "Shorthand" and Aaron Gemmill's "Provopoli"

Photo

Sat, 17 Nov 2012 16:00:00 -0500

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

"Shorthand" (2012) by Katarzyna Krakowiak. Publication showing phonetic transcription of one minute of silence at P!, with a double-cover. Designed and produced by Project Projects

Part I of “Possibility 02: Growth” begins with Aaron...

Thu, 08 Nov 2012 00:24:00 -0500

Part I of "Possibility 02: Growth" begins with Aaron Gemmill's "Provopoli (Wem gehört die Stadt)" obstructing the entrance to P!

Part I of "Possibility 02: Growth" begins with Aaron Gemmill's "Provopoli (Wem gehört die Stadt)" obstructing the entrance to P!

Part I of “Possibility 02: Growth” begins with Aaron Gemmill’s “Provopoli (Wem gehört die Stadt)” obstructing the entrance to P!

Possibility 02: Growth

Sun, 04 Nov 2012 18:45:00 -0500

6 Nov – 22 Dec 2012
Aaron Gemmill × Katarzyna Krakowiak × Sarah Oppenheimer × Bec Brittain × Slow and Steady Wins the Race × Don Davis

Part I: Aaron Gemmill, “Provopoli (Wem gehört die Stadt)” (2012). Installation view, 6 Nov 2012.

Part II: Katarzyna Krakowiak, “Slowhand” (2012). Installation view, 17 Nov 2012.

Part III: Sarah Oppenheimer, “C-010100” (2012). Installation view, 2 Dec 2012.

Part IV: Bec Brittain, “Maxhedron” (2012). Installation view, 5 Dec 2012.

Part V: Slow and Steady Wins the Race, “Deluxe Standard View” (2012). Installation view, 12 Dec 2012.

Part VI: Don Davis, “Torus Colony” (1975/2012). Installation view, 19 Dec 2012.

“Nothing in our solar system is truly unlimited, of course; no expansion can go on forever; but an exponential growth of wealth can be considered rationally if we can find the environment in which that growth can proceed for many hundreds of years …”
—Gerard K. O’Neill, The High Frontier: Human Colonies in Space, 1977

The second exhibition at P!, Possibility 02: Growth, speaks to the myth of unchecked expansion through varying modes of inhabitation. Over its seven week duration, the exhibition will transform periodically, spurred by the ongoing accumulation of works by different participants. A microcosm for the outpacing rhythm of urban development, the arrival of each new work dislodges the previous ones and redefines the space. This serialized installation and re-configuration activates a scarce resource — space itself — allowing the works to function as distinct and potentially oppositional bodies, each filling the architectural volume in turn. As an experiment in proliferation, Possibility 02: Growth speculates on how displacement and cohabitation upset conventional models of exhibition and the social relations they reflect.

Each participant and new work will be announced in succession on a weekly basis.

The first piece, Provopoli (Wem gehört die Stadt) (2012) by Aaron Gemmill, opens 6 November 2012. A 10 ft diameter globe, Provopoli will be inflated in the entrance of P! to the point of obstruction. This work will remain on view and migrate throughout the space over the course of the exhibition.

The second piece, Shorthand (2012) by Katarzyna Krakowiak, opens 15 November 2012. Shorthand employs sculpture, sound, and performance to translate the silence of space into a physical condition. With thanks to Residency Unlimited.

The third piece, C-010100 (2012) by Sarah Oppenheimer, opens 2 December 2012. As the newest addition to her ongoing Typology of Holes, Oppenheimer’s piece insets the storefront façade, disrupting the relationship between the street and exhibition space.

The fourth piece, Maxhedron (2012) by Bec Brittain, opens 5 December 2012. Transforming darkness through fractured reflection, Maxhedron’s constellation of light and mirrors extend brightness outward.

The fifth part of the exhibition opens 12 December with Deluxe Standard Version (2012) by Slow and Steady Wins the Race. Continuing the conceptual fashion label’s reinvention of retail, Deluxe Standard Version converts P! into a pop-up shop. A checkerboard installation of plush cream carpeting takes over the space as a display for new additions to the signature Standard Bag collection. Created in Leather, Velvet, Exotics, and Japanese Satin, these bags transform a ubiquitous retail form into objects of desire.

The sixth and final part of the exhibition ends with historical work by Don Davis. Widely known for his visionary renderings of NASA space colonies in the 1970s, Davis projects alternative futures for limitless human settlement. By strip mining the moon and seizing asteroid resources, these NASA schemes extend urban development into the open frontier of space.

—————

Aaron Gemmill lives and works in Brooklyn, NY. He is an MFA candidate at the Milton Avery Graduate School of the Arts at Bard College.

Katarzyna Krakowiak explores sculpture and architecture with the use of various media, notably sound. Her solo exhibition for the Polish Pavilion at the 13th International Architecture Exhibition—La Biennale di Venezia, Making the walls quake as if they were dilating with the secret knowledge of great powers (Venice, 2012), received a Special Mention. Other significant exhibitions include Who Owns the Air?, Galeria Foksal (Warsaw, 2011), and Game and Theory, South London Gallery (London, 2009).

Sarah Oppenheimer’s work has been shown nationally and internationally. Recent projects include the Baltimore Museum of Art, the Warhol Museum, Art Unlimited at Art Basel, the Museum of Contemporary Art San Diego, the Saint Louis Art Museum, Mattress Factory, Skulpturens Hus (Stockholm), The Drawing Center, and Sculpture Center. She is the recipient of the Rome Prize from the American Academy in Rome, the Louis Comfort Tiffany Biennial Award, and a Guggenheim Foundation Fellowship among others.

Bec Brittain started her product design studio in 2011 after studying industrial design, philosophy, and architecture, and working across varied fields. Her products draw from these different modes of thinking and synthesize them into a new whole, creating relationships between normally disparate elements.

Slow and Steady Wins the Race is a conceptual clothing and accessory line founded by Mary Ping. The label may be described as “a logical dissection of fashion” — an exploration of the basic elements of apparel. Subverting typical forms through unexpected materials and approaches, Slow and Steady Wins the Race focuses on the fundamentals of clothing while commenting on the anthropology of fashion.

Don Davis is a painter and animator. Since the late 1960s, he has depicted space and space exploration in a range of media. Davis’s work has appeared in contexts including bestselling albums by Jefferson Starship, the award-winning PBS series “Cosmos,” and institutions including the National Museum of Natural History.

Karel Martens: Selected Letterpress Works

Wed, 24 Oct 2012 13:02:00 -0400

When Karel Martens began studying art in Holland in the late 1950s, “graphic design” did not even exist as its own course of study. Today he is widely recognized as one of the most important practitioners of that very discipline, with an esteemed client list that includes major publishers, architects, and institutions. His accolades include the H.N. Werkman Prize (1993) for the design of the architectural journal Oase, the Dr A.H. Heineken Prize for Art (1996), the Gold Medal at the Leipzig Book Fair (1998), and numerous other distinctions. Martens has taught at the Yale School of Art, Jan van Eyck Academie, and co-founded Werkplaats Typografie in 1997. The below selection of Martens’ monoprints includes rare works from the 1950s and 60s. They engage with the technology of letterpress, deliberately misusing the media to create unique prints. Neither commissioned design objects nor autonomous artworks, Martens’ letterpress experiments exist as unique fragments of an ongoing visual process.

Karel Martens
Untitled, 1958
letterpress monoprint on paper
9 × 11 ⁵⁄₈ in. (229 × 295 mm)

Karel Martens
Untitled, 1958
letterpress monoprint on paper
9 × 11 ⁵⁄₈ in. (229 × 296 mm)

Karel Martens
Untitled, 1963
letterpress monprint on paper
8 ¼ × 11 ¾ in. (209 × 297 mm)

Karel Martens
Untitled, circa 1992
letterpress monoprint on photocopy
8 ¼ x 11 ⅝ in. (209 x 295 mm)

Karel Martens
Untitled, circa 1994
letterpress monoprint on paper
13 ¾ × 9 ⁷⁄₈ in. (350 × 250 mm)

Karel Martens
Untitled, 1994
letterpress monoprint on paper
8 ⁷⁄₈ × 12 ½ in. (225 × 319 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
16 ⁷⁄₈ × 12 in. (428 × 304 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
18 ¹⁄₈ × 11 ³⁄₈ in. (459 × 290 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
17 ¾ × 12 ⁵⁄₈ in. (450 × 320 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
12 ⁵⁄₈ × 17 ¾ in. (320 × 450 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on photocopy paper
16 ⁷⁄₈ × 11 ⁵⁄₈ in. (430 × 295 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
20 ¹⁄₈ × 15 in. (510 × 380 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on paper
15 × 20 ¹⁄₈ in. (380 × 510 mm)

Karel Martens
Untitled, 1996 [Maquette for cover of Printed Matter]
letterpress monoprint on thin cardboard
6 ⁷⁄₈ × 9 ⁷⁄₈ in. (173 × 250 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on chocolate packing material
9 ¾ × 7 ³⁄₈ in. (249 × 187mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on index card on top of catalogue card Stedelijk Museum Amsterdam
11 ½ x 6 ⅞ in. (292 x 174 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Gerrit Rietveld
11 ¼ × 7 ⁷⁄₈ in. (285 × 200 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Gerrit Rietveld
11 ¼ × 7 ⁷⁄₈ in. (285 × 200 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Beyer
11 ⅜ x 8 in. ( 288 x 205 mm)

Karel Martens
Untitled, 2006
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist J. Buys
11 ⅜ x 8 in. ( 288 x 205 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam
11 ³⁄₈ × 8 ¼ in. (288 × 210 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint n catalogue card from the Stedeljk Museum Amsterdam
11 ³⁄₈ × 8 ¼ in. (288 × 210 mm)

Karel Martens
Untitled, circa 1995
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam
11 ³⁄₈ × 8 ¼ in. (288 × 210 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam
11 ½ × 8 ¼ in. (290 × 210 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam, artist Richard Long
11 ½ × 8 ¹⁄₈ in. (291 × 205 mm)

Karel Martens
Untitled, 2006
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Quellinus
11 ⁵⁄₈ × 8 ¹⁄₈ in. (294 × 206 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Hamish Fulton
11 ⁵⁄₈ × 8 ¹⁄₈ in. (294 × 206 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam,
artist Jan Dibbets
11 ⁵⁄₈ × 8 ¹⁄₈ in. (294 × 206 mm)

Karel Martens
Untitled, circa 1991
letterpress monoprint on catalogue card from the Stedeljk Museum Amsterdam
11 ⁵⁄₈ × 8 ¹⁄₈ in. (294 × 206 mm)

Karel Martens
Untitled, circa 2006
letterpress monoprint on catalogue card from the Stedelijk Museum Amsterdam
11 ¾ × 8 ¼ in. (297 × 210 mm)

Karel Martens
Untitled, 1991
letterpress monoprint on catalogue card from the Stedelijk Museum Amsterdam
11 ¾ × 8 ¼ in. (297 × 210 mm)

Karel Martens
Untitled, 2009
letterpress monoprint on a navigation sheet out the ‘Sight Reduction Tables for Air Navigation’, Pub. No. 249 Vol.3
11 ⁵⁄₈ × 9 ¼ in. (295 × 234 mm)

Karel Martens
Untitled, 1986
letterpress on paper
4 ⅛ × 5 ⅞ in. (105 × 148 mm)

Karel Martens
Untitled, 1998
letterpress on paper
4 ¹⁄₈ × 5 ⁷⁄₈ in. (105 × 150 mm)

Karel Martens
Untitled, ca 2010
letterpress monoprint on packing material
6 ¼ × 4 ⅛ in. (160 × 105 mm)

Karel Martens
Untitled, circa 2011
letterpress monoprint on catalogue card printers terms
8 ¼ × 5 ¾ in. (209 × 149 mm)

Karel Martens
Untitled, circa 2004
letterpress monoprint on catalogue card from the Moravian Museum Brno, Czech Republic
8 ¼ × 5 ¾ in. (209 × 149 mm)

Karel Martens
Untitled, circa 2012
letterpress monoprint on catalogue card from the Moravian Museum Brno, Czech Republic
8 ¼ x 5 ⅞ in. (209 x 149 mm)

Karel Martens
Untitled, circa 2004
letterpress monoprint on catalogue card from the Moravian Museum Brno, Czech Republic
8 ¼ x 5 ⅞ in. (209 x 149 mm)

Karel Martens
Untitled, circa 2004
letterpress monoprint on catalogue card from the Moravian Museum Brno, Czech Republic
8 ¼ × 5 ¾ in. (209 × 149 mm)

Karel Martens
Untitled, circa 2005
letterpress monoprint on catalogue card from the Moravian Museum Brno, Czech Republic
8 ¼ × 5 ¾ in. (209 × 149 mm)

Karel Martens
Untitled, circa 2010
letterpress monoprint on catalogue card from the Stedelijk Museum Amsterdam
8 ¼ × 5 ¾ in. (209 × 149 mm)

Karel Martens
Untitled, 2008
letterpress on paper
6 × 8 ¼ in. (150 × 210 mm)

Karel Martens
Untitled, 1996
letterpress on paper
6 × 8 ¼ in. (150 × 210 mm)

Karel Martens
Untitled, circa 2004
letterpress monoprint on paper
12 × 8 ½ in. (305 × 215 mm)

Karel Martens
Untitled, circa 1994
letterpress monoprint on wax paper
9 ¾ × 13 ¾ in. (249 × 349 mm)

Karel Martens
Untitled, circa 2004
letterpress monoprint on paper
9 ⁷⁄₈ × 14 ¹⁄₈ in. (252 × 359 mm)

Karel Martens
Journal of High-Principled Typography , 1989
Letterpress magazine on newsprint, saddle-stitched, 40 pages (self-cover)
9 ⅞ x 12 ¾ in. (closed) 250 x 325 mm (closed)

Karel Martens
B Zine , 1989
Letterpress pamphlet, saddle-stitched, 8 pages (self-cover)
8 ¼ x 11 ⅝ in. (closed) 210 x 295 mm (closed)

Karel Martens
Untitled , 1989
Letterpress poster on paper
19 ½ x 27 ½ in. 495 x 698 mm