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DEFINING FORM / a GROUP SHOW of SCULPTURE Curated by Indira Cesarine

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DEFINING FORM / a GROUP SHOW of SCULPTURE Curated by Indira Cesarine DEFINING FORM / A GROUP SHOW OF SCULPTURE Curated by Indira Cesarine EXHIBITING ARTISTS Alexandra Rubinstein, Andres Bardales, Ann Lewis, Arlene Rush, Barb Smith, Christina Massey, Colin Radcliffe, Daria Zhest, Desire Rebecca Moheb Zandi, Dévi Loftus, Elektra KB, Elizabeth Riley, Emily Elliott, Gracelee Lawrence, Hazy Mae, Indira Cesarine, Jackie Branson, Jamia Weir, Jasmine Murrell, Jen Dwyer, Jennifer Garcia, Jess De Wahls, Jocelyn Braxton Armstrong, Jonathan Rosen, Kuo-Chen (Kacy) Jung, Kate Hush, Kelsey Bennett, Laura Murray, Leah Gonzales, Lola Ogbara, Maia Radanovic, Manju Shandler, Marina Kuchinski, Meegan Barnes, Michael Wolf, Nicole Nadeau, Olga Rudenko, Rachel Marks, Rebecca Goyette, Ron Geibel, Ronald Gonzalez, Roxi Marsen, Sandra Erbacher, Sarah Hall, Sarah Maple, Seunghwui Koo, Shamona Stokes, Sophia Wallace, Stephanie Hanes, Storm Ascher, Suzanne Wright, Tatyana Murray, Touba Alipour, We-Are-Familia x Baang, Whitney Vangrin, Zac Hacmon STATEMENT FROM CURATOR, INDIRA CESARINE “What is sculpture today? I invited artists of all genders and generations to present their most innovative 2 and 3-dimensional sculptures for consideration for DEFINING FORM. After reviewing more than 600 artworks, I selected sculptures by over 50 artists that reflect new tendencies in the art form. DEFINING FORM artists defy stereotypes with inventive works that tackle contemporary culture. Traditionally highly male dominated, I was inspired by the new wave of female sculptors making their mark with works engaging feminist narratives. The artworks in DEFINING FORM explode with new ideas, vibrant colors, and display a thoroughly modern sensibility through fearless explorations of the artists and unique usage of innovative materials ranging from fabric, plastic, and foam to re-purposed and found objects including chewing gum, trash and dirt. Recycled materials are celebrated along with works engaging new digital technologies. The exhibit displays works that are politically charged, contrasted with those full of satire and humor. In the investigation of new tendencies, I felt it was important to juxtapose figurative works with the abstract, new materials with the classics, creating an immersive exhibit that defines new trends in sculpture and contemporary constructs of the art form.” – Indira Cesarine EXHIBITING ARTIST BIOGRAPHIES + STATEMENTS Alexandra Rubinstein www.alexandrarubinstein.com Alexandra Rubinstein is a conceptual artist whose practice focuses on deconstructing patriarchy by making the personal political. She came to the United States from Russia when she was 9, and spent the magical years of puberty under the oppression of both cultures. Over time, she was able to reconcile the weight placed on her by society and has continued to explore themes of culture, gender, and body in her work. Rubinstein’s precisely rendered, vivid paintings use provocative subject matter and humor to engage the viewer while contemplating the deeper issues addressed in her work. ARTIST STATEMENT “Hammered II” is a wall-mounted bottle opener that depicts Jon Hamm’s face from his sex scene in the female-driven comedy Bridesmaids. This piece is part of a larger series of male-adorned bottle openers titled “Thirsty.” Using Jon’s face to decorate a functional object while eroticizing him further by placing the opener over his mouth, the paintings mimic the typical decorative use of the female form, exercise the heterosexual female gaze, and ultimately reverse the role of the woman from object to consumer. The title of the series - Thirsty - comes from contemporary slang used to describe the fervor of female desire and the surge in assertive attitudes, and is a direct result of increased financial independence. The opener’s function reflects the consumerism that also accompanies financial stability, as well as the increased alcohol consumption that results from more female-targeted advertisements. Andres Bardales www.andresbardales.com Andres Felipe Bardales was born in Cali, Colombia. He later moved to Miami, Florida, U.S where he received his BFA from Florida International University. He works predominantly with paper to create complex sculptures and installations using origami techniques to incorporate the use of lines, repetition and geometric shapes. He is interested in exploring the meditative state acquired by this process and the relationship this has with the meaning of presence and time. His most recent installation also studies the relationship between structure, space and the viewer. Bardales has exhibited is several galleries and is part of numerous private collections. He currently lives and works in Miami. ARTIST STATEMENT My work consists of using an old paper folding technique known as origami to create the basis of the pieces. The use of lines, repetition, geometric shapes and patterns gives my work a structural and unique quality. I believe that the art of paper folding is spiritual and when sometimes surrounded by a world of chaos, I often find myself in a meditative state while transforming paper into these shapes. For this reason, the process is just as important as the final product. Being able to integrate origami into my art has allowed me to question what time really means. At times the repeated actions put me into a spiritual trance that grounds me and helps me find peace of mind- in a place where there is no past or future and it is all about the now and my relationship with the present moment. This artistic state gives me a good sense of self-awareness and allows me to bring diverse sources from my background, culture and life experiences into my work. Early on, my biggest struggle was to find a strategy that would allow me to introduce a variety of mediums to this technique. An important component in my works is the materials I choose. Each kind of paper has its own individual characteristic- recording history in every fold in a different manner. Vellum, for example, used in some of my compositions records even the subtlest movements. Its translucency gives the material a very minimal and pure impression. With the change of scale and placement, a sense of rhythm and movement could easily be achieved. Also important is the incorporation of recycled paper, newspaper, and old encyclopedias as one of the main materials in my compositions. Reusing the papers gives new life to these sources of information. Upon closer inspection, the audience can still read what is printed on the pages. The information that is contained in the materials is a major subject in my pieces, especially in an increasingly digital age where printed materials are slowly becoming obsolete. By transforming them in the work, they are given new relevance without losing the printed wealth of knowledge. Ann Lewis www.annlew.is Ann Lewis (American, 1981) is best known for her politically charged and often uncommissioned takeovers of public space. As a multidisciplinary activist artist using painting, installation, and participatory performance she explores themes related to American identity, power structures, and justice. The work often incorporates repetition through graphic elements and a limited color palette. Concept-specific materials such as inmate jumpsuits, women’s underwear, and toe tags are used to convey ideas around social justice issues such as mass incarceration, women’s rights, and police brutality. In early 2014 the artist garnered national media attention when she installed an oversized police tape banner that read ‘GENTRIFICATION IN PROGRESS’ at the former graffiti mecca 5 Pointz in Queens, New York. Her work was exhibited at the White House in the fall of 2015 during the Obama Administration’s reflection on mass incarceration. Her work has been acquired by the New York Historical Society Museum and the US Library of Congress. Most recently she has been named a 2018 Artist-in-Residence at the Santa Fe Art Institute Residency for Equal Justice. ARTIST STATEMENT Define Progress is an ongoing project highlighting issues around the gentrification, corporatization, and displacement of our communities. This performance was done in an apartment building emptied for demolition to make way for a luxury condo. The kitchen in many homes is the space where families commune, where memories are made, and meals are shared. By destroying this space I wanted to reflect upon the destruction of these memories and experiences. Arlene Rush www.arlenerush.com Arlene Rush, a New York City-based artist, has exhibited extensively in museums, universities, and galleries across the world. Most recently, her work appeared in AIPAD’s Photography Show; ANTE Magazine: “AIPAD Features Groundbreaking Work by Arlene Rush in Photography Collection of Joe Baio,” as well as Art on Paper with AHA Fine Art Gallery. In September 2018 Rush will be exhibiting her work in an international group exhibition “A New York State of Mind, Stories from unusual suspects”, curated by Elise Tak, at De Cacaofabriek in The Netherlands and “Overlap: Life Tapestries” curated by Vida Sabbaghi at Penn State, Robeson Gallery in PA. She has been the recipient of the Pat Hearn & Colin De Land Foundation Grant, and a residency to Barcelona, Spain from the Center for Emerging Visual Artists. For the last five years of Rush Art Gallery (no relations) she was on the artist advisory board of Rush Philanthropic Arts Foundation. ARTIST STATEMENT My practice is united by a common exploration of social and humanistic principles and values that I execute through the mediums of sculpture, new media, installations,
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