30 — August 15, 2014) is an installation
curated by Stephanie Buhmann and Samantha McCoy (above). The
exhibition presents a modern and contemporary selection of paintings,
and photographs, while embracing objects that involve weaving,
glass, furniture design and wallpaper.
Featured artists are Polly Apfelbaum, Will Barnet,
Hans Bellmer, Josh Blackwell, Stanley Bulbach, Charles Burchfield,
Calder, Isca Greenfield-Sanders,
Andre Gregory, Frederick Kiesler, Joyce Kozloff, Elisa Lendvay,
Roy Lichtenstein, Vivian Maier, Moving Mountains, Keiko Narahashi,
Aaron Poritz and Nika Taubinsky, Man Ray, Laurie Simmons, Louis
Comfort Tiffany, Anna Torma, Wilfred Zogbaum and Balint Zsako.
Most of the works featured in this exhibition
either focus on the theme of domesticity as their main subject
matter, highlighting particular aspects such as childcare (Will
Barnet and Joyce Kozloff) and still life (Isca Greenfield-Sanders,
Keiko Narahashi and Man Ray), or employ craft techniques as a key
expressive component in their compositions (Polly Apfelbaum, Stanley
Bulbach, Josh Blackwell and Anna Torma). In addition, the installation
incorporates objects with functional intent, such as original wallpaper
designs by Charles Burchfield, furniture by Frederick Kiesler,
Moving Mountains, and Aaron Poritz and Nika Taubinsky, as well
as glass vessels by Louis Comfort Tiffany, artist stools from the
studio of Jackson Pollock and Lee Krasner, and a mobile by Alexander
Calder. Some artists, including Hans Bellmer, Andre Gregory, Laurie
Simmons, Roy Lichtenstein, Balint Zsako, Wilfred Zogbaum and Vivian
Maier achieve a sense of intimacy in their photographs and drawings
and sculpture by incorporating domestic objects either as props
or reflections of their private selves. The Brooklyn based artist,
Elisa Lendvay has created two light sculptures with this specific
theme in mind.
However variant in their approach, aesthetic
or genre, all of the exhibited works draw inspiration from the
notion of comfort
that characterizes the privacy of domestic life. As a faceted
installation, Domesticity serves as a counterpoint to
an increasingly digitalized
way of life, in which one becomes increasingly removed from actual
handmade objects. In that regard, Domesticity invites
the following contemplations, among others:
How can domestic space and the activities and feelings of familiarity
within be conceptualized in art?
Where is the line drawn between a functional domestic object and
fine art ?
Is this traditional divide between the decorative and fine arts
still plausible in our digital age?
Please contact Stephanie Buhmann or Samantha McCoy at 212-319-1996
or firstname.lastname@example.org for further information.