Renwick Gallery is pleased to announce the group show “Beyond Process”. The exhibition will feature nine artists, eight of whom are unrepresented in New York. Artists include Lucas Ajemian, Patterson Beckwith, Phil Chang, Samara Golden, Alexander Hoda, George Kontos, Jason Kraus, Megan Marrin, and Lisa Williamson.
In process art, the actions taken to create an image are more important than the resulting object. This show explores the artist’s path from idea to final product while seeking to reach beyond these parameters. Each artwork in the exhibition results from unique, elaborate, or subtle actions. While the work is process oriented, utilizing the concepts and methods of process art (rite, ritual, and performance/improv, non-traditional materials), the work moves beyond process art because the final product does not point directly to how the work is assembled, nor is it the subject of the resulting object. Yet process does play an essential role, it is central to the meaning of the resulting piece. Concealment of a fetishized process reveals an object emblematic of the artist’s process.
In the explosions series, Jason Kraus uses the objects to mark moments in time, which happened in a private performance. The “Primary Explosion” photographs are meant to mark the actual moment. The photograph actually allows Kraus to show something one can’t see for it happens too quick for the eye to notice it. The images in the primary explosion photos are both digitally manipulated and not at the same time, forcing the viewer to try and decide what in the work is found and fabricated. The “rags” mark the aftermath; they are quite simply the remnants of what happened to the room as they are simply the sheets of drop cloth which were draped around the space where the performance took place. Each object is a marker to one moment of the performance but together they attempt to tell the whole story. The work plays off the viewers ability to suspend their disbelief, forcing them to look at all things as both found and fabricated, subdued and spectacle, mediated and raw. Kraus wants the viewer to ask if the image is real or fake or if it even matters at all. Jason Kraus lives and works in Los Angeles anYork.
Samara Golden’s sculpture “Corporate Abstraction” is constructed from photos culled from the Internet, mirrors and live video, engaging in an ongoing self-reflective and self-conscious act of self re-appropriation. Through doing so this work comments on the conditions of ambivalence, confusion and self-recognition in the post-Internet age. This mise en abyme (or a picture within a picture) becomes further complicated by a series of texts activated as reflections in the sculpture through a process involving live video. In asserting this inherent ‘complexity’ Golden’s sculptures seek to question personal belief systems, self delusion, and anxiety. Illusion is used to set up a scenario in which “confusion” is the foundation. By using combinations of technology and traditional art processes, Golden’s recent projects take up the position of asking the viewer to enter into a reciprocal relationship with the sculpture. Samara Golden lives and works in Los Angeles.
In her series “Pallet Cleanser”, Lisa Willimason’s tapestries can be considered as base sketches. The material, color combinations and formal arrangements within each provide an entry point into thinking and making. These works go back to the basics as a way of pushing forward, clearing one’s head, or ‘pallet cleaners’. Relating overtly to the works of Joseph and Annie Albers, Williamson begins with the most low, repetitive and common forms, as means for development – a generative, almost meditative attempt to work through the studio. In some respects these works describe an economy of making. In focusing on something physical and/or material, room is left for more cerebral, tangential ‘work’. Lisa Williamson lives and works in Los Angeles.
“Adventures Are Dead My Dears” and “Secret Room” are Kontos’s original prints, the results of a process of printing, scanning, painting over, erasing and exposing to chemicals, which distort and remove parts of the printed surface. The partially destroyed prints are then photographed and thus appear as relics of a destroyed archive. In this work there is a created fiction around an idea for a film piece that never reaches completion. Instead, the concept for the film itself (location studies, set designs, studies, subtitles, etc..) is the subject matter that eventually gets destroyed, and then monumentalized in the means of photography as the final stage. George Kontos lives and works in Los Angeles.
Phil Chang includes four “Untitled” photographs displayed under silk cloth. The photographs depict Navy personnel and a single landscape taken by the naturalist and wildlife photographer Donald R. Dickey (1187-1932), in the early 20th century during an expedition to the Laysan Islands in Hawaii. The photographs are made by contact prints from Dickey’s archive of glass negatives using expired photographic paper that dates to approximately 1993. The photographic paper has not been subjected to darkroom chemistry resulting in an unstable photographic image. The image itself is exposed to available light each time the viewer unveils the cloth to view the photograph. Sine the photographs are subjected to a process of exposure each time the cloth is lifted, the work addresses the instability of images, historic military campaigns, and questions regarding the value of an artwork whose obsolescence is a built-in attribute. Phil Chang lives and works in Los Angeles.
Text and Images provided by Renwick Gallery
- Talia Chetrit at Renwick Gallery
- Michel Blazy at Art Concept Gallery
- Michael Najjar at Bitforms Gallery