april 29 - may 7, 2017

ZACH SEEGER

To Die For

 

 

december 10-18, 2016

Public Address presents I, too, live in Arcadia, a solo exhibition and PA-TV event by Bernard Yenelouis. The exhibition is open by appointment from Saturday, December 10th through Sunday, December 18th. Its reception is Saturday, December 10th, 6-9PM (EST). PA-TV will simulcast Yenelouis’ images of Tornado Over Saint Paul during the exhibition opening.

 

I, too, live in Arcadia is a mixed-media installation structured around motifs of elemental disaster and destruction. The primary work in the installation is a digital image sequence Tornado Over Saint Paul (2016), with supporting materials from the artist’s archive, using anonymous sources and work by Bruce Bellas (Bruce of Los Angeles), the Detroit News Photo Department, Edwin Locke, and Brian Weil, in tandem with his own photographs.

 

Bernard Yenelouis is an artist and writer based in Brooklyn. His writing and art has been published in Diacritics, 10x10 American Photobooks, Conveyor, Pastelgram and Bomb. His slide shows have been presented at the Four Walls Slide and Film Club, the German Studies Department at Cornell University, the ICP/Bard MFA Program, and Creative Time Art in the Anchorage. His most recent installation was How To Live In The City in Milstein Hall, College of Architecture, Art and Planning, Cornell University. His collaborative work with experimental filmmaker Marie Losier and artist Genesis Breyer P'Orridge was shown at Luxe Gallery, New York City, and the Arsenal Cinema, Berlin. He studied in the Residential College, University of Michigan-Ann Arbor, and in the MFA program at Cornell University.

 

BERNARD YENELOUIS

I, too, live in Arcadia

october 3-15, 2015

Patricia Brace and Rita Leduc are a collaborative duo who reposition their anxieties over time, place, and relationships through site-responsive performance-installations. For their exhibition at Public Address, Leduc will transform the gallery walls into a kinetic system that rejects its very purpose; if ever someone should touch the walls, they will shift, sway, and threaten collapse. On the walls are similarly precarious paintings. Only when “played” by Brace will the walls, and thus the paintings, obey. In her three public performances, experienced live both in person and on PA-TV, Brace will master the nine-walled instrument, conducting the flips and flaps into a musical score.

 

Push/Pull plays with the artists' roles as they navigate and innovate within pre-existing career, familial, and inter-personal structures. Push/Pull is Brace and Leduc’s first piece that unabashedly invites their respective backgrounds in dance and theatre design to inform - rather than passively influence - their artistic practice. However, while Leduc’s installation begins as a stage for Brace, it is soon revealed as the director, only to transform yet again into the instrument and, eventually, partner.

 

Push/Pull performances can be viewed on PA-TV.

PUSH / PULL

PATRICIA BRACE AND RITA LEDUC

september 5, 2015

SENTENCES ON CONCEPTUAL ART KARAOKE

 

w/MCs Alan & Michael Fleming

Public Address Television - Live

 

A nod to Baldessari Sings LeWitt, artists Alan & Michael Fleming host this karaoke event where participants are invited to sing lines from Sol LeWitt’s, “Sentences on Conceptual Art” to the tune of contemporary songs. The playfulness of the performance is evident through several juxtapositions that are at work. Similar to John Baldessari’s rendition, textual rhetoric is debunked from its original context; the clarity of its intent is challenged by melodic dictation. Where the Flemings deviate is within their display and utilization of karaoke to recite the sentences. When “Perception is subjective” is sung to Britney Spears’ Baby, One More Time ”—microphone in hand—it creates an incongruence between the statement and performance, while the bubble-gum-beat subverts the austerity of its prose.

 

Set against a “green-screen” backdrop, participants’ physical bodies are conflated among of various pop-cultural video clips, images, and effects as if they coexist in digital space.  By framing LeWitt’s sentences in this manner, the artists not only question these authoritative claims on art, but also create a space of possibility when faced with established ideologies.

august 1-14, 2015

RYDER RICHARDS

a thing of this world

 

 

 

a thing of this world, Ryder Richards’ installation has evolved from researching civil power conflicts, primarily focusing on the relationship between police and citizens. Influenced by power/knowledge theory, the work uses the aesthetics of conflict while considering academic knowledge as a distancing mechanism from reality. The artist’s stark, detailed drawings, which depict a range of imagery from shielded police, plumes of smoke, to excerpts from theoretical text, frames a sense of civil escalation among police/citizen relations. Relative to the works on paper, Richard’s sculptural objects allude to conflations in the symbolic means-to power with figurative proxies in the form of a Kevlar® hoodie and a tower of batteries.

 

On the rooftop, Richards will also exhibit a Shield: Monument, a project comprised of cast plaster staircases correlating to the fragility of movement.

july 4-18, 2015

TANABATA

TANABATA

 

Christina Leung | Neil Infalvi

Greg MacAvoy | Natassa Gavalas

Elizabeth Corkery | Graham McDougal

Naoko Komori | Noah Post

Nino Baumgartner | Karin Lehmann

Rita Leduc | Joseph Leduc

Sue Anne Rische | Ryder Richards

Michael Loverich | Antonio Torres (Bittertang Farm)

Baseera Khan | Jason Fox

Doug Johnston | Tomoe Matsuoka

Shabd Simon-Alexander | Antoine Catala

Mike Picos | Anne Wu

Vincent Stracquadanio | Elizabeth Burans

Jessi Binder | Brian Michael Dunn

 

Tanabata Matsuri, a Japanese summer festival characterized by the display of colorful paper decorations, public events, and young couples wearing yukata (summer kimonos), celebrates the annual crossing of two stars, Altair and Vega. These stars, separated by the Milky Way, represent two loves who are able to meet one day a year.

 

In the spirit of these festivities, Public Address asked artist, architect, designer, and curator couples/collaborators to participate in TANABATA. Each couple/collaborator was invited to create a single tanabata fukinagashi, which was encouraged to reflect the work or practice of both individuals. This exhibition focuses on the intersection of two distinct personalities coming together to produce something that celebrates their special relationship and unique interpretation of the prompt.

march 7-21, 2015

Balustrade

NICHOLAS CUEVA, PAUL KONEAZNY, ANNE WU

 

"The galleries were full of fashionably dressed ladies, leaning over the balustrade and trying not to lose a single word of what was being said below."

 

Anna Karenina by Leo Tolstoy, Chapter XXX, Part VI. 1873

(Translated by Constance Black Garnett 1917)

 

Balustrade, a group exhibition with recent works by Nicholas Cueva, Paul Koneazny, and Anne Wu, augments the peripheralities of a spectacle. Similar to the experiences one has with public barriers during a city parade or the faux-marble remains of a Vegas casino’s demolition, the exhibition lauds adjacency-- the fringe activities synonymous to a performative display.  The paintings and objects employ patterning to activate their empirical sources through repetitions in the artists’ tactile surfaces and pictorial symbologies.

september 13-27, 2015

BRIAN MICHAEL DUNN

SHEETZ

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.

september 13

DAREN KENDALL

How to Raise the Dead

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.

 

Public Address is pleased to exhibit To Die For, a painting installation and PA-TV performance by Zach Seeger on view from April 29 through May 7, 2017. The opening reception and performance will be held on Saturday, April 29, 6-9PM. The performance can also be watched live on PA-TV (on the Public Address website) starting at 7:30PM (EST).

 

New Economy

by Joshua Rivkin

 

A man offers to trade his guitar for a city bus.

My pick for your passengers. Six strings for sixteen wheels.

A bride on her wedding day exchanges her love

for bright weather, a groom exchanges his hands for hers.

A father offers to trade his family for a hotel’s worth of sleep.

A sailor offers the Pacific for a hotel’s worth of sex.

Tonight, the shirt from my back, my singing mouth,

my endless praise, for your skin or company.

I’ll give you my stethoscope for a red barn: a doctor.

I’ll give you my right arm for your left: his patient.

It’s the inequality of pain a sleepless woman wants

to give away. Here, take mine, she offers to freight trains

whistling their replies through Houston’s poorest wards:

Jealousy gets you jealousy. Rage gets you rage.

"What wouldn’t you offer?" a man asks the pawn shop window.

"What wouldn’t you take?" replies the glass.

 

The gallery walls support Seeger’s unstretched paintings. Suspended—the canvases are hung as if they are tapestries—they begin to build a contained environment housing rich painterly mark-making. In some paintings, figures are enmeshed into colorful patterns, where body and ground become inexorably one. In others, the worked and tactile surfaces point to an awkward, and at times grotesque, expression. However that may be, with moments of raw or stained canvas peeking through heavier strokes, a sense of comfortable vulnerability between the two gestures emerges. The artist describes the paintings as decidedly contrarian—they “poke fun” by emulating stylistic marks and tropes he observes in other work. Although the wit within these comedic provocations appear brash, the density of the images requires a prolonged viewership. As a result, their experience not only reveals the gradual unfolding of the artist’s autobiographical narratives, but they also produce a sense of implicit autonomy as if the artist has created containers for his memories.

 

When composing the images, Seeger seeks a particular geography that defines the painting, where each formal element requires its particular placement. This can be compared to the charting of a topographical landscape or following the logic of a biological system, but differs in its mapping of memory. In the paintings, it becomes apparent that recollection undermines the present. By contrast, Seeger’s performance forces the act of recalling to activate the present through words, sounds and step. Seeger aims to fold his performative narratives back into the environment as the three performers traverse the gallery and move as if they are navigating his constructed space.

 

Zach Seeger is a painter, writer and curator who lives and works in Brooklyn, NY. He grew up in Endwell, NY and spent his summers in the Adirondack Mountains. When not helping his dad build things, he caught salamanders in the back yard and snuck upstairs late at night to watch Ted Koppel on Nightline. Seeger holds an MFA from the Rhode Island School of Design (Providence, RI) and BFA from Binghamton University (Binghamton, NY). Recent solo exhibitions include, Watson at Karstan and Gorse (Wappingers Falls, NY), November, Defend Brooklyn (New York, NY) and Cheese Burghers of Calais curated by Nicholas Cueva, Zrobili (Brooklyn, NY). He has participated in the GROUNDWORK III Residency and Vermont Studio Center. Since 2013, Seeger has co-directed and curated exhibitions for This Friday or Next Friday (Brooklyn, NY).

 

Special thanks to Stacy Collado, Marine Cornuet, Brian Morris, Andrew M. Stevens, and Joe Bochynski.