EXHIBITION DATES: OCTOBER 18 \u2013 NOVEMBER 24, 2007
\nOPENING: OPENING THURSDAY, OCTOBER 18, 6:00 \u2013 8:00PM
\nCasey Kaplan is pleased to announce the first solo exhibition of artist, Sarah Dornner. By appropriating
\ntechnologies of representation from the sciences, architecture, and the commercial arts and combining
\nthe dimensional properties of video, photography, sculpture, and drawing, Sarah Dornner investigates
\nthe ways in which cultural and social constructs inform individual perceptions of space. This exhibition
\nwill show two artworks in Gallery I, Catwalk a white, spiral staircase and Hedge, a graphic photograph of
\na shrub.
\nDominating in scale, Catwalk is determined by a mathematical equation. Each unattainable step is 10%
\nsmaller than the one that came before it, creating a spiral that continues to infinity. Dornner views this
\nabstraction in cinematic terms through films such as Ziegfeld Girl, 1941 \u2013 the spiral staircase from the
\nset is an inspiration for this piece. In Ziegfeld Girl, the Busby Berkeley musical segments break the rules
\nof continuity and result in an impossible space. Viewers are presented with interspersed voids and
\ncamera angles that compress the characters into graphic forms. Dornner\u2019s Catwalk distorts perception
\nin a similar way, forcing a dreamlike perspective with infinite space onto a real, architectural structure.
\nOpposing the monochromatic staircase is the photograph Hedge. The plant depicted is a privet, used
\nmainly for privacy hedging and commonly found in suburban yards. Dornner implements a technique
\nthat heightens the gradation of color and creates a mysterious, never-ending abyss. The result is an inert
\nsimulacrum of the once organic form.
\nIn the juxtaposition, Dornner contrasts the two artworks dimensionality and the unrevealing, domestic
\nlanguage of the shrub with the fantastic space of the sculpture. Central to her practice, Catwalk and
\nHedge are analytic abstractions that confound spatial logic.
\nSarah Dornner is a recent Master of Fine Arts graduate from Yale University School of Art.<\/p>\n
<\/p>\n
GARTH WEISER GALLERY II
\nEXHIBITION DATES: OCTOBER 18 \u2013 NOVEMBER 24, 2007
\nOPENING: OPENING THURSDAY, OCTOBER 18, 6:00 \u2013 8:00PM
\nGALLERY HOURS: TUESDAY \u2013 SATURDAY, 10:00 \u2013 6:00PM
\nCasey Kaplan is pleased to announce the second solo exhibition in New York of artist, Garth Weiser.
\nIn a practice that hovers between the disparate formal languages of abstraction, minimalism and
\nfiguration, Weiser\u2019s paintings are at once figures in space and flat abstractions. This paradox interrupts
\nthe logic that painting is a fixed image. Weiser\u2019s new series will present five of his latest large-scale oil
\nand acrylic paintings in Gallery II.
\nUntil recently, Weiser used maquettes as the source for his paintings. He now draws on his memory
\nof these three-Dimensional forms to create small, quick sketches and collages. These studies crossreference
\nimages central to his iconography, including artworks and design objects from the 1980s and
\n1990s. Expanding on these illusions and recycled visual cues, the under drawings on canvas act as
\nskeletons to the tape, acrylic, oil and enamel that follow.
\nWeiser\u2019s paintings employ a m\u00e9lange of color wheels, gradations and value scales using expressive
\ntechniques to create luscious surfaces of contrasting colors and finishes. Uniform circles fluctuate
\nbetween breasts, eyes, and cavities in geometric compositions that evoke colossal heads and torsos.
\nThe undulation of palette and surface treatment combines textural, ceramic qualities with faceted
\nillusions of space. All entitled Nude (#1, 2, 3\u2026), the paintings use this collective language to inform
\none another.
\nIn a sequential array, the five nudes stage an ephemeral interplay of both subject and context. Through
\npattern, line, shape, and color, Weiser\u2019s rich textured, platonic paintings re-invent the picture plane with
\na new space.
\nGarth Weiser received a Master of Fine Arts from Columbia University School of the Arts in 2005 and has
\nhad previous solo exhibitions at Guild & Greyshkul, New York and Kavi Gupta gallery, Chicago. In 2007
\nhe participated in \u201cBlackberrying,\u201d at Christina Wilson, Copenhagen and \u201cDestroy Athens,\u201d The Athens
\nBiennial, Greece. Other group exhibitions include, \u201cGreater New York,\u201d at PS1 MOMA, New York and
\n\u201cHunch and Flail,\u201d curated by Amy Silman at Artists Space, New York.<\/p>\n
<\/p>\n
DAVIS RHODES GALLERY III
\nEXHIBITION DATES: OCTOBER 18 \u2013 NOVEMBER 24, 2007
\nOPENING: OPENING THURSDAY, OCTOBER 18, 6:00 \u2013 8:00PM
\nGALLERY HOURS: TUESDAY \u2013 SATURDAY, 10:00 \u2013 6:00PM
\nCasey Kaplan is pleased to present the first exhibition in New York of artist, Davis Rhodes. Through a
\nsingle medium \u2013 vitreous enamel spray paint \u2013 on rectangular canvases and free standing or wallmounted
\nfoam-core boards, Rhodes will present an installation of paintings in Gallery III.
\nMaking use of single colors and strong forms, Rhodes has found a new way to harness the potential of
\nColor Field and Hard-edge painting. At the same time the works mine the abstraction of the
\ncontemporary street. Forms that are ubiquitous and found on sign posts, deli awnings, billboards, hiphop
\nposters, banners, cigarette packs, fitted caps, and asphalt, are quickly translated into colors such
\nas taxicab yellow, Marlboro red and patent-leather black, and traversed with geometric shapes, lines,
\nblurs, and significant digits. Smooth and shiny, the surfaces would be homogenous if not for the
\nremnants of a night out in the street, cigarette ash, or a drip that escaped the speed of execution. Just
\nwhen the narcissistic facades become a unique and remote urban skin, a reductive swipe acknowledges
\nthe artist\u2019s hand.
\n\u201cYellow Number 1, Jefferson Street, 9.3.07,\u201d is a freestanding foam-core work. Warped and bending yet
\nevoking a sculptural monolith, it depicts a clean, white number one on a yellow ground. Vulnerable in its
\nmedium and stability, it functioned outside on Jefferson street in Bushwick for days as a chameleon in its
\nsurroundings only to disappear and emerge weeks later in the gutter with a history now all its own.
\nRepresenting \u2018one dollar\u2019 and \u2018#1\u2019 from an array of urban references, the figure is a singular example of
\nrepeated signs in Rhodes\u2019 paintings.
\nDavis Rhodes\u2019 keen interest in abstraction as a de-contextualized intensity that runs through visual
\nculture has led him to explore the relationships between painting and print media, and a studio practice
\nand public performance. Through form, framework, context and materials, Rhodes\u2019 paintings succinctly
\nblur boundaries between the inside and outside of a painting practice.
\nDavis Rhodes is a recent Master of Fine Arts graduate from Columbia University School of the Arts.<\/p>\n","protected":false},"featured_media":21388,"template":"","categories":[],"acf":[],"_links":{"self":[{"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/exhibitions\/5069"}],"collection":[{"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/exhibitions"}],"about":[{"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/types\/exhibitions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/media\/21388"}],"wp:attachment":[{"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/media?parent=5069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thenewobjectivity.com\/KAPLANTEST\/wp-json\/wp\/v2\/categories?post=5069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}