Careerists and Visionaries

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T , all of who m are rece nt gra d uates fro m th e Yale a g o, by anoth er grou p of thirte e n artists, te n of th e m stu d e nts an d thre e d e p artm e nt, Jessica Stockhold er. Th e exp erie nce of this d e p artm e nt an d p ossibility for it, an d by cre atin g th e pro ble ms inh ere nt to it. C are erists to g eth er th e varyin g practices of 10 artists: Eoin Burke, Ian C am p b ell, Boris Marsh, Jo Nig o g hossian, Ryan Wolfe, an d Jacq u es Louis Vid al, curator


he influence of Jessica Stockholder’s educational and creative philosophy, which could inadequately be interpreted as “expansionist,” is noticeable in each artist’s work in this exhibition. Jessica sees every artist occupying, and expanding an allotted creative space, an Emersonian notion if there ever was one. In this utopian spirit these works have been selected to highlight each artist’s capacities, curiosities, and strengths as opposed to producing a more tangible whole. The sculptures of Jo Nigghogosian, Eoin Burke, and Sarah Lassise may seem formally figurative, but this is deceptive and inaccurate in describing their work. Their work, disparately, is much more concerned with a more abstract and fundamental idea of an object, its affect on the room, its affect on the artist as they make it, its ability to stand up, to be alone, and to have dignity. All of these concerns prefigure any notion of resemblance, but do not exclude them.

C are erists an d Visionaries

Boris Chesakov and Ian Campbell’s work differs in the distance they choose to create from “it” as an entity. Ian’s work is represented here by a series of photographs of his performances. H e does not document these events, these photos are taken by myself and others, and his work exists as a series of anecdotes describing the events between friends; he has agreed to allow these photographs to represent these conversations, and myths about his practice. Boris’ work does not aim towards completion, but rather towards an ongoing, endless experimentation of time-based works. Lourdes Correa-Carlo, Laura Marsh, and myself occupy a personal space, where the meaning of our symbolism, and its references do not necessarily relate. The craft and formality in the work is specific to our own history, and is an attempt to magnify that history. In Laura’s work it is a menagerie of accessories including bags, Imovies, and jewelry that produce her totem. With

Scho ol of Art Sculpture M FA pro gram, was originally curate d two ye ars faculty m e m b ers: Jo e Scanlan, D a p hn e Fitzp atrick, an d th e h e a d of th e its p articular conversation has refin e d this show over tim e by cre atin g th e an d Visionaries gives sp ace to this sp ecific m o m e nt in tim e, brin gin g C h esakov, Lo urd es C orre acarlo, M ere dith Ja m es, Sarah Lassise, Laura of th e exhibition.

Lourdes, the politics and image of Puerto Rico is centralized, as is her accent, as the words “Beaches” and “Bitches” are often confused. In my work for the show, I have produced a series of posters that are documentation of my childhood home, these are posters advertising my sensibility, the personal here becomes a diagram for the development of an aesthetic. Ryan Wolfe’s works are often made to seem invisible, to be assimilated. H ere he has created a series of chair bases, modeled after the original Papasan Chair. In order to strip these objects of their casual destiny he has reduced them to their minimal design origins. Meredith James’ work swallows space, for like Ryan’s, it often takes the room itself as a subject; not as installation site, but as space itself to be a subject, easily manipulated, and suited for re-understanding. H er video takes the assumption of a place being there, static, like a living room ready for use, and proves that to be false. Instead these places are

almost always moving, and when she wants to leave, the room becomes an emotional mirror that she literally takes with her. O ur dean, Robert Storr, once instructed us that Yale was not a finishing school for young artists. This sentiment seemed obvious, even sanctimonious at the time, but to a certain extent I hope this show proves his point, and goes further to say that in this time there is nothing that a finishing school could teach us, or nothing it hasn’t tried to teach us that we as a class flatly rejected.

—Jacques Vidal Curator of the Exhibition

C are erists an d Visionaries

Performances, 2008 – 2009

To o Far in a G o o d Direction, 2009

Eoin Burke I g o to th e stu dio. Draw, usin g o bservation as a launchin g p oint, brin g my thou g hts an d th e su bject towards e ach oth er, th e n make sculptures that use th e drawin gs an d id e as as g e n eration p oints.

C are erists an d Visionaries

Ian Cam p b ell I q uit, p e ace.

C are erists an d Visionaries

Foun d Keyb o ard, 2008

This Will N ot En d, 2008

Boris C hesakov My work should re associate, should re a p preciate, it’s not tim e b ase d b ecause th e project d o esn’t e n d, it d o esn’t d e p e n d on tim e as a syste m, it uses tim e as th e m e ans to continu e. This exp erim e nt is ha p p e nin g without m e startin g it, I have nothin g to d o with it, it exists.

C are erists an d Visionaries

Lourd es C orrea Carlo Think of thre e-dim e nsional o bjects as ima g es. – ca pture th e m in a virtual sp ace an d reconstruct th e m in re ality– reconfig ure th e m an d flatte n th eir hierarchies.

C are erists an d Visionaries

D ay Shift, 2009

Untitle d, 2009

M ere dith Jam es D ay Shift is a fantastic interpretation of m o bile technolo gy an d th e a bility of surveillance to turn everyon e into a p erform er an d au die nce at once. In th e vid e o, th e cam era has th e p ow er to corru pt an d reconfig ure th e p hysical world it records.

C are erists an d Visionaries

Sarah Lassise XXXXXXXXXX

C are erists an d Visionaries

Save, Save, Save, 2009

Untitle d, 2009

Laura Marsh

Jo Nig o ghossian

My work ofte n critiq u es th e various co m p etin g surfaces of consum er lan g ua g e throu g h material relationships an d juxta p ositions. A han gin g b a g series slum ps fro m th e ceilin g as you asce n d th e spiral staircase to th e u p p er g allery. As th e vie w er o bserves th e aske w stuffe d forms, on e notices a direct play on material lan g ua g e as on e surface atte m pts to overp ow er an d alter th e n ext.

In a se nse, I exploit th e p ow er an d history of th e material concrete to pro p ose sculpture as a process of re g ulation an d violation of hid d e n syste ms. To m e, it’s esse ntial to b uild u p a formal structure that d e man ds reco g nition of its p erman e nce an d d esig nation, to make it as ‘formless’ as p ossible to e pito mize disturb ances an d w e akn ess. Th e forms are in process of b ein g b uild u p at th e sam e tim e as broke n d own.

C are erists an d Visionaries

C are erists an d Visionaries

Thre e Pa p asan Parts, 2009

C’est C a H ouston!, 2009

Ryan Wolfe My sculptures are re ma d e fra g m e nts of a p a p asan chair. Th e d econstructe d form was d erive d by strip pin g th e chair of p arts that invite a p erson to sit, le avin g only th e armature. Throu g h th e re makin g process I altere d various formal pro p erties for th e sculpture to b eco m e a contain e d unit. In th e resultin g form I wante d th e work to slip b etw e e n a fra g m e nt an d a whole b ut not distinctly a d h ere to eith er on e.

C are erists an d Visionaries

Jacques Louis Vid al xxxxxxxxxxxxxxxxxx

C are erists an d Visionaries

Eoin Burke Too Far in a G oo d Direction, 2009 M D F, b asswo o d, wax, plaster, acrylic wash, acrylic house p aint Dim e nsions varia ble

Boris C hesakov This Will N ot End, 2008 Alarm clocks, water, ste el fa bric bins 47 x 22.5 x 14.25 inch es

Sarah Lassise Untitle d, 2009 M o d elin g clay, fa bric, p aint 32 x 19 x 7 inch es

Jacques Louis Vid al C’est C a Houston!, 2009 Ste el, 20 archival prints on p a p er 38 x 18.5 inch es

Ian Cam p b ell Performances, 2008 - 2009 Photo gra p hs Each: 8 x 10.5 inch es

Lourd es C orrea Carlo Found Keyb oard, 2008 C ast aluminum 17.75 x 6.5 x 1 inch es

Laura Marsh Save, Save, Save, 2009 Fa bric, foun d o bjects, b un g e e cords Dim e nsions varia ble

Ryan Wolfe Thre e Pa p asan Parts, 2009 Birch 3 Parts, e ach: 24 x 43.5 x 43.5 inch es

M ere dith Jam es D ay Shift, 2009 Installation: mixe d m e dia Vid e o: 3:12 Ro o m: 80 x 80 x 47.5 inch es

Jo Nig o ghossian Untitle d, 2009 Re b ar, concrete, le otard, m etal, wo o d, plaster, ro p e 36 x 18 x 9 inch es

C are erists an d Visionaries

C are erists an d Visionaries

E oin Burke Ian C am p b ell Boris C h esakov Lourd es C orre a C arlo M ere dith Jam es Sarah Lassise Laura Marsh Jo Nig g ho g osian Ryan Wolfe Jacq u es Louis Vid al Photo gra p hy by C ary W hittier Pu blish e d on occasion of th e exhibition, Care erists and Visionaries, at Marc Jancou C onte m p orary, A u g ust 7th – Se pte m b er 3rd, 2009. Marc Jancou C onte m p orary Gre at Jon es Alley N e w York, N e w York 10012 m