June 6 – October 11, 2015
For this exhibition we printed and mounted the artists works to Dibond for her show.
The work of artist David Hartt (Canadian, born 1967) investigates the specificity of place. By examining the culture and built environment of a given locale, Hartt observes how the needs and values of communities form, manifest, and change over time.
For Interval, Hartt selected two sites of relative economic and geographic isolation: Whitehorse in the Canadian Yukon and Sakhalin Island, a Russian territory at the tip of the Japanese archipelago. The exhibition consists of essayistic films and photographs shot in both places. Accompanying these are a score by composer Mitchell Akiyama and a curtain wall structure simulating the reflective exterior of the Bonaventure Hotel in Los Angeles, a postmodernist icon and the initial venue for this project.
Hartt chose each location—Whitehorse and Sakhalin—according to a specific cultural source. In 1967 Canadian pianist Glenn Gould made a radio documentary, The Idea of North, that featured anthropologist and geographer James Lotz recounting his experiences in Whitehorse while making a report on the living conditions of itinerant workers and aboriginal peoples there. Writer Anton Chekhov penned The Island: A Journey to Sakhalin, also a documentary account, after traveling in 1890 to the historically contested territory, then a Russian penal colony.
The title, Interval, refers to a musical term for the harmonic result of two notes struck simultaneously, and more generally to temporal and spatial displacement. Both Gould and Chekhov focused on the periphery of their respective societies in order to comment on the center, an approach Hartt employs to explore the hybrid identities of sites and individuals in a globalized world.
May 10 – June 7, 2015
For this exhibition we printed and mounted the artists works to Dibond and framed the works for her show.
These photographs reenact the eight positions of the body in Charles Ray’s sculpture, Oh! Charley Charley Charley from 1992. Selected images from a Google search, each of which captured a different view of the piece as seen by an onlooker, were used as a means to dictate and perform each position in a mirrored studio setting. This work is the first part of an ongoing project.
March 13th – April 25th, 2015
For this exhibition we mounted the artists works to Dibond and framed the works for her show.
Jessica Labatte’s photographic work is an investigation in photographic illusion, while respecting the material processes of photography. Labatte’s most recent body of work addresses and employs light and color as a model for space and time; the barely visible, such as dust particles; minerals as pigments; and digital or antique photographic processes. On Artforum.com in 2015, critic and artist Zachary Cahill discusses her Spotting series in depth, writing “In a blurring of authorship, Labatte creates these images with her assistants and includes their first names parenthetically in the individual photographs’ titles. Together, they composed pictures by an accretion of digital erasures, most notably in Spotting #11 (Elyse, Jessica), 2014. If the process sounds complicated to understand, that’s because it is, though the end results aren’t. The photographs are visually generous and are marked by blasts of color that register the living quality of time itself.”
Her work has been exhibited in numerous galleries and museums including the Museum of Contemporary Art, Chicago; Museum of Fine Arts, St. Petersburg, FL; Elmhurst Art Museum; Hyde Park Art Center; Higher Pictures, NYC; Golden Gallery, and Horton Gallery, NYC. Her work has been reviewed in The New York Times, The New Yorker, Artforum.com, and Chicago Magazine. Labatte received an MFA and a BFA from The School of the Art Institute of Chicago.