Bomb, 2014, 14.25 x 17 inches, Enamel on steel
Corner, 2014, 22 x 12.5 inches, Enamel on steel
Ngakula, 2014, 35.5 x 24 inches, Enamel and oil on steel
Bounty, 2014, 11.75 x 6.25 inches, Oil and enamel on steel
Body Spray, 2014, 48 x 23.5 inches, Spray paint on steel
August, 2014, 48 x 24 inches, Oil on steel
Capri Slum, 2014, 59.5 x 36 x 1.35 inches, Spray paint and oil on steel
Brian Michael Dunn will be exhibiting SHEETZ, a series of new paintings in the project gallery. Using “z” to denote the title’s plurality pragmatically contexualizes the symbiotic nature of Dunn’s works, where SHEETZ signifies both the chain of national gas/rest stations in addition to a colloquialism for bed coverings. Dunn’s works, intimate in scale, adopt the behaviors of various, common objects by bending and folding scraps of metal. These substrates generate awareness about a prior act; like the crease in a newspaper gutter only visible by opening its spread. Formally austere and chromatically responsive of their source, the paintings nod to a dry wit, where the pleated rectangular grid of an interstate road map dually purports the patterns of Ghanian textiles. Dunn looks to magnify the mundane, to supplant a fragmented memory of place by framing the exhibition space with his reliefs.
How to Raise the Dead is a rooftop performance and sonic event featuring Daren Kendall, Taylan Cihan, Valerie George, and Tyran Grillo. Blending visual, musical, and literary art forms, the ensemble of interdisciplinary artists will improvise in concert with materials, sounds, and spoken word. Inspired by the view overlooking Brooklyn and the Manhattan skyline, a sculptural framework will provide a base for collaborative activity amongst the evolving urban and performative soundscape. Like the employees working within an industrial location, players assume roles as operators and specialists, performing tasks of menial labor while giving form to both materials and sounds. The objective is to awaken the potential for creative life within systems of modern labor and production, while also giving meaning to the disciplined body at work. At the center of the system are the subjective minds of the artists, bound only to the dictum of individual choices and the contingent natures of their actions in turn. The script remains undetermined.