COLLECT | Art + Design for the Curated Lifestyle > Autumn 2012

PROFILES FRANCESCA CARUSO 8 DANA DUNHAM 10 JOHNNY ADIMANDO 12 COCO BERKMAN 14

INTERVIEWS

PREVIEWS

Naomi Campbell 16 Retinal Displacement Quintin Rivera-Toro 19 Business As Usual Jamey Morrill 22 Larvae Flynn Grinnan 26 Fabric Flesh Joey Kilrain 28 One Step at a Time

Brian Benfer 43 @ Sarah Doyle Gallery Philip Jameson 44 @ Candita Clayton Gallery

REVIEWS

cover: Close Encounters of the 3½ Kind Francesca Caruso

DANIEL HEYMAN 31 @ Cade Tompkins Projects JIN SHAN 35 @ David Winton Bell Gallery DAVE COLE 37 @ DODGEgallery LEONARDO DREW 39 @ Sikkema Jenkins & Co.

SPECIAL COLUMNS THAT’S BRUTAL 5 COLLECT CONCEPT STORE 46

COLLECT is a quarterly, limit- Contributors: ed edition magazine published

by Yellow Peril Gallery. Each issue features interviews with artists from YPG exhibitions and profiles from artists in our Flat File program, as well as reviews and previews of art exhibitions and events both in and out of Providence and special columns dedicated to art and design here in Rhode Island.

acknowledgements

Staff

The Plant

Publisher Vanphouthon Souvannasane

theplantprovidence.com

Philip Sawyer Designs philipsawyer.com

Fire Sand

Editor Robert P. Stack

firesanddesigns.com

Dan Wood Letterpress Inc. dwriletterpress.net

Tom West

Art Director Marcel McVay Advertising Executive Jen Young Intern Emma Fague

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RenĂŠe Doucette RenĂŠe Doucette is an emerging art columnist based in Providence, RI. She writes a regular monthly art column for East Side Monthly and covers the Providence art scene on her blog, artrogueisland. tumblr.com.

Kyla R. Foster Kyla R Foster is an emerging art columnist living in Providence.

Foster received a Bachelor of Arts from Ohio University in Art History and General Studio Studies with a focus in modern critical theory. She currently works at RiverzEdge Arts, a non-profit in Rhode Island which promotes positive educational and economic outcomes for youth through

A LETTER FROM THE EDITOR Life in the post-Madonna age dictates that one must constantly reinvent oneself in order to stay relevant. But through it all, Madonna/ Madge/Esther/MDNA remains the same at her core despite the surface updates. Thus it is with the relaunch of COLLECT . We’ve refreshed our whole outward appearance; yet remain committed to our basic vow to promote art and design for the curated lifestyle.

COLLECT has evolved from the playbill sized monthly that you’ve all come to know and love, to a full sized quarterly that I’m sure you’ll be as excited about as we are. The larger format will provide room for more

content, and the seasonal distribution will provide for more advanced notice of upcoming events in Providence and beyond.

Successful features carried-over include in-depth interviews with featured Artists who will be exhibiting at Yellow Peril Gallery during the season, as well as Reviews of prominent exhibitions written by emerging art critics.

New features debuted in the redesign include featured profiles of Artists included in the new Flat File Program launching at Yellow Peril Gallery, and Previews of upcoming exhibitions in the area you won’t want to miss.

We’re very excited about this latest reinvention, as well as all of the recent happenings at Yellow Peril Gallery. In addition to the Flat File Program, and the outdoor performance/installation art events of the summer such as ‘Table Fights 2012’ and ‘Summer Grid’

by Quintin Rivera Toro, we are continuing to think outside of the gallery box. October 5th will see the launch of our first intervention #120 Satellite Project, a space utilizing unleased commercial space to exhibit largescale works frequently unrepresented

in commercial galleries, as well as providing additional exhibition space for local artists in a city that has seen these opportunities shrink drastically in recent years.

We’re equally excited to continue our vision for COLLECT , namely to engage with the community not only through readership, but also by collaboration with local writers on content. We look forward to hearing your story ideas.

I think this is our best issue of COLLECT yet, and I feel you will agree with me too. Thank you for your continued support.

Robert P. Stack

Editor, COLLECT

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SPECIAL COLUMNS

THAT’S BRUTAL! BRUTALISM IN RHODE ISLAND Docomomo Tour Day 2012

In conjunction with Docomomo Tour Day 2012, Mid-Century Modern RI is pleased to host 'That’s Brutal! Brutalism in Rhode Island', a tour and discussion about two important Brutalist structures – List Center at Brown University and the Knight Campus building at Community College of Rhode Island (CCRI) – on Saturday, October 6, 2012, at 11AM.

ism movement are currently under fire: vilified in the press and slated for destruction,” explains MCMRI’s Executive Director Robert Stack. From Bertrand Goldberg’s Prentice Women’s Hospital in Chicago (1974), to Rudolph’s Orange County Government Center in Goshen, New York (1971), Architectural Preservation has turned its focus toward saving these maligned and misunderstood buildings. This impassioned emotionalBrutalism, an architectural spin-off ism is at the heart of Mid-Century RI’s of modernism that gets its moniker Docomomo Day Tour. from the French “béton brut” (meaning “raw concrete” ) remains as divi- Returning from extensive journeys in sive a style today as during its hey- South Africa, the famous architect Le day a half century ago. You either love Corbusier began experimenting with it, or you hate it. Really hate it. “In rougher, more “native” forms and surfact, numerous icons of the brutal- faces, searching for a more honest solu-

tion to building problems. Starting with his 1930 Pavilion Suisse at the Cité Universitaire in Paris, he introduced daring concepts like articulated plans and exposed rough textured concrete. Le Corbusier would continue to explore and exploit such concepts in seminal works like his Unite d’Habitation in Marsailles (1952) and His Carpenter Center for the Visual Arts at Harvard University, in Cambridge, Massachusetts (1962).

This new style, coined Brutalism, was often focused toward government and government-funded buildings, and was widely adapted in other countries like the UK and USA. Philip Johnson‘s Albert and Vera List Art Building (1971) has been described THAT’S BRUTAL Brutalism in RI

Autumn/2012

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by Rhode Island Historical Preservation Commission‘s William McKenzie Woodward as “particularly successful as an aesthetic object. Further, it makes a dramatic and appropriate use of its steep hillside site and relates surprisingly well to the John Hay Library at its rear.”

Perkins + Will’s CCRI Knight Campus (1972) is a bold edifice described on the school’s website thusly : “The choice of what was at the time an innovative architectural form shows a progressive attitude on the part of state government, and as a result Warwick obtained what is probably the most significant contemporary structure in Rhode Island." RIHPC likewise described it as, “ One of the most striking and innovative contemporary structures in the state.”

Mid-Century Modern RI was formed in 2011 as a response to the increased destruction of modernist buildings that do not fall under the blanket of historic preservation due to the 50 year rule.

While our friends are busy celebrating the colonial heritage of ye olde New England, we’ll be celebrating many of the over looked and downright forgotten Mid-Century Modern gems the littlest state in the union has to offer.

Visit us at midcenturymodernri.com or facebook.com/midcenturymodernri

If it can be welded,

I can weld it.

401.474.3199 OBLF

They may not be Hollywood pretty, but they have character. Strength. A different kind of beauty. photo: Viera Levitt

-Robert P. Stack

THAT’S BRUTAL Brutalism in RI 6

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PROFILES FRANCESCA CARUSO JOHNNY ADIMANDO DANA DUNHAM COCO BERKMAN Artists featured in PROFILES are part of the Flat File program at Yellow Peril Gallery.

Works are available for view and for purchase at the gallery upon request. To set up a viewing appointment, inquire by email to info@yellowperilgallery.com or by phone to +1 401 861 1535

Autumn/2012

PROFILES

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Close Encounters of the 3½ Kind, 2012.

Collage 6.5"x5"

PROFILES

FRANCESCA CARUSO

Rosemary's Shower, 2012.

Collage 6.25"x5.5"

Francesca Caruso studied interdisciplinary art and art history at the University of Massachusetts at Amherst. She has participated in open studios in the greater Boston area (where she is based) and shown work in group and solo exhibitions in Amherst, Holyoke, and Chelsea NY. Her most recent works are collages, drawing source material from magazines from the late 1950s through early 80s such as Gent, Rolling Stone and Psychotronic. She uses film stills, articles and advertisements to re-contextualize stars, cowboys and mystics in American landscapes.

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PROFILES Autumn/2012

Maybe it’s the Peyote, 2012.

Collage, 4.25"x8.25"

Cowboys, 2012.

Collage, 5.75"x10"

FRANCESCA CARUSO

JOHNNY ADIMANDO

recent solo show, To The Moon, was reviewed in the March/April 2012 issue of Art New England. Another recent solo show , Via Satellite, was on view at the AS220 Project Space in downtown Providence, RI. His current show of new mixed-media works on paper, The Displacement Axis; is on view at the Hillel Project Gallery in Providence.

Attempt #6, 2012. folded screen monoprint on paper 5.75"x7.75"

PROFILES

Excerpt from Artist Statement for Attempts #001-042:

Adimando holds a BFA (‘05) from the Tyler School of Art at Temple University and MFA (‘09) from the Rhode Island School of Design. He is currently part-time faculty in Printmaking and Drawing at RISD, and adjunct faculty in Printmaking at Montserrat College of Art. He was awarded the Temple University prize to study in Rome, Italy; the Frogman’s Print and Paper Workshop scholarship, a graduate fellowship grant from Bucknell University, and a graduate study grant from RISD. Adimando’s work is included in several permanent and private collections and has been exhibited locally, nationally, and internationally. A

In January 2002, while still a junior in High School, Britney Gallivan succeeded in folding paper in half 12 times. At the 12th fold, a single sheet of paper increases exponentially to 4,096 layers or approximately 41 cm thick. At its apogee the Moon is about 406,700 km from the Earth, while a single sheet of paper is about 0.01 cm high. Approximately 42 even folds would reach the Moon's surface.

For the show, To The Moon, I created this series titled Attempts#001-042. For my part, ink and paper appeared the proper tools to traverse this seemingly immeasurable distance. However, the works do not prescribe to the aforementioned even, measured, and mathematical process. After a series of very calculated “attempts”, the process (of folding)

became a response to the image (screen monoprint) and the material (paper); as ideas about experiment and exhibition began to fuse.

I suppose, it should go without saying, that I never actually reached the Moon. Conversely, that the project was in many ways; doomed to fail. It was this inevitable “failure” that I found most inspirational and intriguing, and in fact, the entire basis for the project. That being said, these pieces are displaced artifacts of an intense contemplation on the continued mystery of an object of great ubiquity. Perhaps, in that way; something was reached.

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Attempt #11, 2012. folded screen monoprint on paper 5.75"x7.75"

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PROFILES Autumn/2012

Attempt #38, 2012. folded screen monoprint on paper 5.75"x7.75"

Attempt #18, 2012. folded screen monoprint on paper 5.75"x7.75"

JOHNNY ADIMANDO

PROFILES

DANA DUNHAM

Excerpt from The Sleepers artist statement: “These images were photographed with the use of a 4x5 studio camera.

This camera has given me a deeper love for my photography and through the use of the tilts and swings of the camera has allowed me greater access into my own vision as a contemporary photographer. My desire to hold onto the traditional aspects of black and white film and then crossing it with the alternative process has taken my work and vision to heights that

are uniquely my own. The negative, through controlled exposure and development yields the contrast and density that I desire. The liquid emulsion allows my work to flow, to become something of itself and something that for me has become a world of its own....

The variations of the brush strokes of the emulsion and the painterly qualities of the chemistry dripping down the photograph presents to the viewer an image that is not only photographic, but also inherently related to printmaking and painting.�

Dana Dunham is a recent MFA graduate in Photography from the Massachusetts College of Art and Design Low-Residency Program sponsored by the Fine Arts Work Center in Provincetown.

First Nude, 2010 liquid emulsion on watercolor paper, 4x5 black and white film 44"x55"

Father, 2012 liquid emulsion on watercolor paper, 4x5 black and white film 32"x55"

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Male Nude, self portrait, San Fransisco, 2011 liquid emulsion on watercolor paper, 4x5 black and white film 55"x44"

DANA DUNHAM Autumn/2012

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PROFILES

COCO BERKMAN

Excerpt from Berkman's artist statement: Often times imagery seems confusing and not quite formed... mysterious.

I love the idea of inspiring a double-take, forcing the viewer to rubber neck and remark to themselves, “Is that what I think it is?” ...My Ulysses series is a tribute to James Joyce's wonderous novel. I read the book often and am always astounded by the depth of Joyce's perception and his precise and rich comical “drawings” of humans in land-

scape. He has all the bases covered.

His words are music and his imagery is timeless. He created a real place for us to visit... Dublin, Ireland on June 16 in 1904.

Coco Berkman is an artist printmaker who lives and works in Glouster, MA. She has studied printmaking at several studios throughout the United States and in Ireland.

The Passing, 2012 9 color reductive linoleum print 24"x24" The Wash, 2012 9 color reductive linoleum print 30”x22”, Ed. of 9

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Bronze and Gold, 2011 16 color reductive linoleum print 22"x30", Ed. of 15

COCO BERKMAN Autumn/2012

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Erasures, 2012 acrylic on canvas 48"x72"

INTERVIEWS

Naomi Campbell Retinal Displacement

attention was drawn to investigate the Retinal Displacement evolved out of an effects of technology through the con- earlier exhibition based on the then retext of speed and the passage of time. cent centennial of Futurism. Reflecting on the exponential growth of technolVanphouton Souvannasane: Can you ogy following the introduction of the share with us the concept and inspira- age of mechanical reproduction and tion behind RETINAL DISPLACEMENT? watching its effect on the global social, political and economic order today as it This series explores the perceptions continues to accelerate, precipitated of reality derived through definition of me to consider addressing this issue changeable ideas of space and the par- as a series. Every individual and every adigms of identity inspired by events generation increasingly feels the pull in the world. The title references the of the virtual world. It has had such Prior to 2008, a significant part of her complex organ of sight in man that a powerful mass effect sweeping the work has been site-specific public art connects the brain within the central globe with much ease, that the impliprojects. Recently her practice inves- nervous system to the visual world, as cations of its progress seemed compeltigates the human presence ques- it addresses its ability to interpret or ling. tioning the boundaries of identity and sometimes reinterpret the visual world. individual memory. Following that her Retinal Displacement alludes to man Canadian born Naomi Campbell grew up in MontrĂŠal, and now lives in Brooklyn, New York. She is an interdisciplinary artist and instructor of the contemporary figure at the Art Students League of New York whose paintings, graphics and sculpture installations explore the cross section between art, science and social consciousness. She has exhibited extensively both nationally and internationally in galleries and museums.

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as a machine, capable of similar abilities, albeit a somewhat slower rate of change. The organ of sight used in perception, a highly complex form of communication with the world.

The function of the retina has been compared to the film component of the camera forming a bridge between the brain to the world. The ability of the brain to recognize or reconstruct images into permanent information is an interesting adjustment exercised by the brain. We have found that the perceived information stored as memory is sometimes an adulterated translation of what is actually observed and viewed on the retina resulting in a displacement of reality.

boundaries between the two begin to blur. It presents views of worlds from within looking out over vast landscapes imagined and unseen.These works investigate modernity through social networking, gaming culture and technology while disseminating a distancing through a series of alternate utopias that create new conditions of existence. Exploring boundaries of identity, individuality and the collective, man the protagonist exerts his new found virtual freedom within self-imposed worlds that collide with blurred boundaries in an unsettled perfection. These enigmatic virtualscapes explore questions of origins, and desires, abstraction and transformations.

As magical worlds they are devised to exist as a timelessness of never ending journeys elsewhere. Each is carefully kept within the bounds of its own reality through the veils of layered systems of binary pixilation.

There is a progressive displacement of material from the act of the ancient art of drawing to the technology-based processes.

Through scratching, rubbing or smudging the ancient art of drawing, and the traditions of paint leave a time-based organic blueprint. Computer-gener ated works reverse the traditions of timebased works through mechanical reproduction. By feeding them back into the computer, it reinvents the medium.

The use of Plexiglas as a substrate fur-

new work by Ben Watkins

As our virtual and real worlds experience an accelerated integration of information created by the increasingly dependent role of man’s existence on technology, the degree of separation between the two continues to diminish on every imaginable level.

VS The artwork on display at Yellow Peril uses a variety of medium and VS What is the role of technology, so- methods, from drawings to paintings cial networking, and gaming culture and digital printing. Why did you dein the exhibition? cide to go with this approach?

Retinal Displacement explores the I wanted the exhibition to reflect an cross-platforming occurring be- underlying evolution through its differtween the virtual and the real where ent combinations and uses of materials.

AS220 Project Space January 5-26, 2013 www.as220.org

Naomi Campbell Retinal Displacement Autumn/2012

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ther alters the graphite, translating it into transparent shadows of itself, overlapping washes of watercolors experience a heightened transparent state while light and shadows reflect zoetrope-like multiple images so real that the reflected works become indistinguishable from the real.

this time.

RETINAL DISPLACEMENT, featuring new works by Naomi Campbell exploring the alternate realities stemming from the merging worlds of the virtual and actual states, will make its debut at Yellow Peril Gallery from September 13 - October 14, 2012.

VS What are you working on next?

Share with us your upcoming projects.

I am continuing to work on this series along with my work with analogue X-rays. My connection between art and science is an ongoing conversation that derives itself from my background and interest in the sciences.

At this point in the global condition this has become quite a relevant subject.

The work I started in 2004 examining the use of weapons, as a by-product of social progress is another ongoing series. One of the pieces is being considered for publication in an upcoming book on the subject.

I am working on a project that will be part of a curated exhibition by Dr. Jeff Koan Baysa and am in discussion regarding an upcoming exhibition the details of which are not available at

RETINAL DISPLACEMENT, partial installation view photo credit: Emma Fague

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INTERVIEWS

Quintín Rivera-Toro Business as Usual

Providence in the West Side neighborhood next to Olneyville. Geography and my entity are relevant to my work…

I look at myself as a survey or a rule of thumb and then I usually react to the same issues everywhere - which are social, economic, political, and identity based. These are interests that I have which definitely need to be explored.

Place inspires in a very matter of fact way. I guess this goes with the territory of being a sensitive person. I see how certain social patterns are common to

"I look at myself as a survey or a rule of thumb and then I usually react to the same issues everywhere..." most social contexts: interpersonal dynamics, “the system” vs. the individual, environments that can improve, but don’t. This all makes me feel as potentially engaging in an active role for change, somehow. I could affect, improve, critique anywhere I am standing in the world. At least anywhere in the world I’ve been able to be.

Quintín Rivera Toro has worked as an artist in manyv different places and uses a variety of media from film and theatre to painting and sculpture.

With deep roots in Puerto Rico and a strong Caribbean identity, he has seized opportunities to “get off of the island” and explore and embrace different places and cultures. As we see in Quintín’s exhibition, BUSINESS AS USUAL at Yellow Peril Gallery, his work is directly related to his environment.

Jen Young What role does the notion of place have in your work?

Quintín Rivera-Toro: It is important where I am, that I am living here in

My Agenda is Not Their Agenda, 2012

Quintín Rivera-Toro Business as Usual Autumn/2012

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JY How does your identity as a Puerto Rican “nomad” translate into your work?

I can’t escape this, it is a type of behavior that precedes me from centuries ago. Islanders don’t have roads that connect them to other communities and countries; therefore, we are used to emigrating elsewhere.

This translates into complex intellectual and emotional relationships with the place “abroad”. Now it is the USA, it used to be Spain, it will probably be China next. My working as a site specific conceptual artist brings me to evaluate this estranged point of view, as a resource, an extra tool in my toolkit of art making strategies.

JY Your façade staged at Yellow Peril Gallery is an unusual intervention in Olneyville and will be seen by thousands of people who are not familiar with this sort of art. What do you expect or hope for regarding a reaction to this piece?

an artist, definitely. As far as art making goes, I have witnessed a strong impulse in recent times to use my skills and my ideas as a means to construct tailor made stages in which to perform artistic statements, for social reflection, criticism and interpretation.

QR: In the very least I always hope for a memorable reaction. Sometimes I am trying to provoke an audience; sometimes I am trying to find sympathy in an individual. It can range quite drastically in terms of intentions, but, as the cliché goes, the artist hopes the audience will make their own interpretations. I have always been very attracted to the wild range of responses my art work can produce, depending on its complexity and context.

Business as Usual will be on view at Yellow Peril Gallery from October 18 - November 11, 2012.

JY Would you consider all of your work to be performative?

I’m not sure I’ve ever looked at it this way...but I like it! I feel that conducting an art practice is inextricably attached to the notion of a viewer, someone we are communicating to/ with, and along with that, there is the notion of humans always being performative. We perform all the time: perform as a parent, perform as partner, a son/daugther, an employee, a student,

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To advertise in COLLECT contact jen@yellowperilgallery.com

Jamey Morrill is a Providence-based sculptor and adjunct professor of art at Rhode Island College in Providence, RI. In recent years Morrill’s sculpture has become increasingly sprawling and site-specific, with emphasis on mass-produced materials and organic forms. Often using commonplace materials such as plastic bottles, chicken wire, and duct tape, Morrill constructs sculptures that are outwardly cerebral and systematic but that are fundamentally random and irrational.

INTERVIEWS

Jamey Morrill Larvae

These odd, yet beautifully translucent and luminous forms resemble tightly wound chrysalides seemingly in a dormant state. At Yellow Peril, the LARVAE sculptures will inhabit the exhibition space in unexpected ways - with forms alternately touching the floor and walls or suspended tensely just inches from them.

Yellow Peril Gallery’s Curator Robert Stack recently had a chance to interview Morrill and ask those burning questions that are on your mind:

RS What first drew you to large-scale installation work?

JM: I don’t recall making a conscious decision to build large installation sculpture. I think there must have been a collision of factors involved. My first sculpture instructor, Imi Hwangbo, was an ambitious, young artist whose work was often sprawling. In class Imi showed slides of similarly large-scale sculpture projects by other artists. She invited guest speakers such as Patrick Dougherty and Joe Seipel, whose art was not merely large-scaled, but also odd or witty or unclassifiable. The lastLarvae, 2012 ing lesson I drew from Imi’s class was plastic bottles, monofilament line, drywall screws the wide-open, even lawless, nature 13"x13"x22" of sculpture. To me sculpture seemed Jamey Morrill Larvae 22

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Larvae, detail, 2012

at once a laboratory and playground.

Even now, sculpture feels liberating to me - a room without walls.

Apart from Imi’s influence on my early development, there was an energy and enthusiasm I felt at age 27 of having finally found what I wanted to do with my life. Perhaps I possessed a suppressed energy that was suddenly released. Maybe this translated most naturally into big projects rather than modestly-sized objects.

RS Your work seems to address a juxtaposition of assumed opposites, such as strange almost negative forms assembled from mundane everyday objects. How did you get interested in this sort of dialog?

JM: I wish I could say that I were a systematic thinker. My choices as an artist are not deliberate in the way the arguments of a philosopher are.

I am continually drawn to mundane, mass-produced materials in a visceral way. I do not choose a material because I see it as a vehicle for some argument I am trying to build, but because I respond to it emotionally.

Many times people have seen politics in my sculpture, which is possi

ble, but not intentional on my part.

RS With the Larvae series, there appears to be this comparison drawn between natural organic process and man-made mass-produced industrialization. Can you expound upon this coupling of what is often assumed to be polar opposites?

JM: I feel there is a tension that results from the juxtaposition of outwardly dissimilar or opposing materials. In Larvae, for instance, there is a combination of plastic bottles and drywall screws.

Normally, this combination would result in a failure of the bottle, and likely, a mess. But in Larvae the screws act as an anchorage for the monofilament,

which binds the bottle forms together.

Despite making the construction of the forms possible, the drywall screws are undeniably aggressive, even violent in appearance. For me this dual quality of the drywall screws rings true. This quality applies to nature and culture, though we often prefer a sanitized view of the world - where there is harmony and no discord, and where there is a clear line between man and wild nature. This view would shift, I expect, and perhaps also our self-image, if we suddenly had to slaughter an animal for our next meal. So, as sterile as a plastic bottle may be, it is nonetheless derived from ancient, decomposed marine plants and animals, now buried deep below ground. Maybe, then, it is not Jamey Morrill Larvae

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a such a stretch to envision a plastic bottle reborn as something alive, such as an insect larva.

RS There is a certain minimalist approach in terms of palette, materials and forms. What inspires this?

JM: I am fascinated by the idea that an oak tree can spring from an acorn, or an immense Bach Fugue from a single musical idea. I once read that the first job of the artist is to establish a small set of rules and restrictions. The second job is to exhaust those rules and limits. This is always the way I have proceeded. Limits are liberating. Have you ever seen the home-made soccer balls children use in impoverished, rural Africa? They are more imaginative, inventive, and exuberant than anything I’ve seen in Chelsea lately.

DESIGN architecture.

BUILD, LLC

craftsmanship.

RI reg. #34843

bioid mechanogenetics.

Talk: 609.408.9977 Type: funcaes@yahoo.com Stop by: Providence, RI

to continue the unruly and playful nature of previous sculpture projects while working on the wall at a modest scale. Larvae is perhaps my last tango with the large format. But who knows?

I have another idea I want to explore.

It involves a large outdoor site, sound, and lights. So, in short, I am not truly reformed.

Sculptures will still be wall-mounted, but could be as tall as six feet.

LARVAE an installation comprised of sculptural forms made from plastic bottles, monofilament, and drywall screws, will be on display from November 15 - December 9, 2012 at Yellow Peril Gallery.

RS How is your current work evolving RS In what direction do you see your from past successes? work heading?

JM: Well, as a rule, I am trying to compress my work, that is, to work smaller. I am interested to find out if I can make smaller pieces without losing the intensity and ambition of earlier installations. So, yes, I am trying to have it both ways. I want

JM: The aforementioned smaller format is where I am headed. I want to try making attenuated versions of my latest pieces, the Landscape Sculptures, but with a monochromatic palette this time.

All white. These expanded Landscape

Jamey Morrill Larvae 24

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Embracing Restraint, 2012, Starched Fabric 84"x60"x23"

INTERVIEWS

Flynn Grinnan Fabric Flesh

Flynn Grinnan’s new work covers the the experience was a rare self-conbody. Full body drapings create a tained moment. Below is a reflection of mold for fabric ghosts of once exist- that experience recorded on that day: ing bodies and poses. I had the honor of becoming one of these pieces, and We are dripping and covered in primordial mucus, incubating in a posed womb – made by me, made by you. Scraping the dry exoskeleton, the artist lets the hardened plaster crumble down the mold. And just before the last second of consciousness, there’s a peeling and a blast of light, air and freedom. Freedom to move, freedom to breathe and freedom from myself. I melt aside, crawling out from the fabric-and-plaster shell as if transmuting from larva to full body.

Regaining normal perception, I look back at the brace that was me, that was holding me, and that carries with it the remnants of my experience.

-Marcel McVay / Monday, July 2, 2012

Marcel McVay How does this new work depart from the work in your last show, BODY PRESENCE? Flynn Grinnan: My material choices have changed drastically. Although I have consistently utilized a number of different mediums, large scale, experimental mold making has proven to be more effective over clay in executing my overarching vision. The most important departure from the last major body of works is that they are large scale, full body pieces. They have true presence that demands a closer look.

In the past I was using unorthodox techniques to finish clay sculptures, but this new work pushes further the capabilities and qualities of the cho-

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sen materials - leaving the viewer to question how they were made.

MM What themes or ideas are still present and how have they changed?

FG: My objective in making sculpture has consistently been to present a universalized human figure through the acts of draping, covering, distorting and abstracting the body of a live model directly rather than sculpting from afar. I have found that these processes all ask in varied ways the question, what is human physicality? In my new work, the goal is to strip away the recognizable features of an individual and allow their pose to be the only clue to their identity.

This way the viewer can have a very personal interaction with the sculptures - uncovering meaning through their own experiences and thought processes rather than my own forced agenda. Another development in this work is that each model goes through a very physically demanding experience in order for me to make the molds. They are sling-shotted into an intensely intimate connection with their body while under the mold – a process that can easily last an hour.

MM Fabric is a very specific material choice, especially when presenting the human form. Can you speak to this decision?

FG: The fibers in the fabric absorb the high concentrated starch mixture used to harden the castes. The immediate reference to clothing lends to providing a familiarity that I strive for in all my works. Viewing something unique while also having that familiar feeling provides an interaction where the viewer can again bring their own

thoughts and experiences to the show.

FABRIC FLESH will be on display from October 5 - November 4, 2012 at Yellow Peril Gallery's first intervention space, #102 Satellite Project located at 60 Valley St, #102 in Olneyville, Providence, RI.

Flynn Grinnan Fabric Flesh Autumn/2012

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The cross streets of Creative & Deadline, 2012, Acrylic on Canvas, wiindow frame 34 3/4 " x 31"

INTERVIEWS

Joey Kilrain One Step at a Time

Born and raised in South Philly, Joey Kilrain's artistic style evolves as a product of his ongoing life lessons.

He integrates traditional media such as acrylic, pen and ink, papier mâchÊ with mobile & web technologies.

He cut his teeth at Art Institute of Philadelphia and SVA. His work has been exhibited in New York City at Ward Nasse, Church of St. Paul the Apostle, ArtBreak Gallery, Governors Island, Art Gotham, and Haven Arts. His work has been published in Adobe's Web Design Journal, Village Voice, and New York Magazine.

say. Can you share with us the underlying themes behind them, particularly your drawings and paintings?

VS How much of your personal and professional experiences inform what you decide to create?

Joey Kilrain: My work has always discussed three subject matters: family and friends, personal life and adventures, and corporate America.

JK: If it weren't for my experiences I'd have no stories to visually depict. They are 100% responsible for my messaging and motivation.

The paintings are usually more whimsical and colorful while the drawings are raw, black and white images. And with my pursuits with papier mache, lamps, mobile, and engineering has opened up new channels for expression.

VS Your papier mache explorations are a witty sculptural nod to pop culture and consumption. Why did you decide to create in this medium?

Vanphouton Souvannasane At first glance, your body of work is both bold and colorful. Loud, some may

However, regardless of my style and skills, the message is usually very clear.

JK: With any medium I work in, it's usually a personal challenge to create work that is motivational, inspiring, and 'cool'.

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Regarding my papier mache work, I was at a store in Union Square and notice a table sculpture made from papier mache. Immediately my mind raced to a challenge, recreate objects from my youth that inspired me through a medium I'd yet to attempt.

First it was a taxi cab, based on my first trip to NYC. Then to a boom box / ghetto blaster, followed by spray paint cans, and finally crayons.

After learning much of the process involved I set off with more complicated challenges. To recreate stories from my diary, 'When God was asleep' would be a huge feat. The first one is 'Mike across the street' which is almost completed.

VS What is the inspiration for the 'Sneaker Lamps' series? What makes each lamp unique?

JK: I feel grateful that I've not lost my childhood curiosities. I say that because whenever I am exposed to new tools / opportunities / inspiration my inner child ( soul ) lurches into gear (sort of autopilot) and I start to experiment. This is the perfect catalyst from my creativity.

While taking courses on carpentry and sculpting in 2010, I was exposed

to a variety of tools and building material. After a few wild thoughts I knew that I was going to build sneaker lamps using recycled materials. I had no experience with electric or bending metal. After building a prototype using 'trash bag' wire ties, talking with a local hardware store clerk, and a few mistakes / rough prototypes later, my first sneaker lamp was fully functional.

As my usual self looks to improve I've created them using more 'green' concept. For example, Instead of paper I use the material discarded from society's cheap umbrella wastefulness, LEDs, less wires.

VS Two words: Painted Socks. One question: Why? JK: Three words: Very Happy Mistake.

While working on a huge mural, a hole developed in the sock I was wearing.

The sock ended up in the gesso by mistake, which I removed once noticed. It dried on the floor and a few days later I painted a face on how I felt. I thought it was a great idea and I pursued the concept with great gusto.

Most galleries thought it was a dumb idea and lacked maturity. This prompted me to work with children and paint

socks with them. A Grand Slam idea that is still evolving. Working with a variety of charities, including Figment, I go by the name of Mr. Painted Sock Man at local events. A very humbling and heart warming feeling.

Yellow Peril Gallery will exhibit Kilrain’s body of work at #102 Satellite Space, a 2,500 square foot space devoted to new artistic explorations located in The Plant from November 9 – December 31, 2012.

Joey Kilrain One Step at a Time Autumn/2012

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RACHEL BENSIMON

December 13 -30, 2012 COLO COLO gallery

29 Centre St New Bedford, MA (508) 642-6026 30

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gallery hours: Wed-Sat: 2-7pm Sun: 1-5pm COLLECT

REVIEWS

DANIEL HEYMAN @ Cade Tompkins Projects Providence

Renée Doucette

Philadelphia-based artist Daniel Heyman is no stranger to the art world rodeo, or the “Creative Capital” for that matter. While Providence has an undeniably special relationship with the complex process of printmaking, to label Heyman as merely a printmaker and painter feels almost dismissive in a town full of them. At the core, Heyman is a storyteller, a listener, and in a warm room, he’s the first to sweat through his buttoned up collared shirt, as evident at the opening for his solo exhibition DANIEL HEYMAN: Summer Fall Winter Spring at Cade Tompkins Projects.

One of the amazing things about art and its relationship to a space is that

you can walk into the same room every month or so and the work can potentially transform the atmosphere to the point where the walls and floor seem to be familiar, but things just feel different. Inside Cade Tompkins Projects, the space is dotted with floor-to-ceiling prints, but the quality of the work on display makes the experience akin to walking into a side gallery at a museum.

DANIEL HEYMAN: Summer Fall Winter Spring encompasses the past couple of years, as marked by the work, Summer: Artist Sleeps, which features a drawing of the artist resting inside a hammock in a moment of pure elation and exhaustion. Things make sense once

you discover that Heyman was awarded a John Simon Guggenheim Memorial Fellowship in 2010 and participated in eight exhibitions that year. Lacking a narrative like the majority of his work (or even a landscape aside from three strangely anthropomorphic trees), Summer seems ironically barren, though still representational of a vacation. It starts an inner conversation that carries on through the rest of the show, which evokes a thought: “So this is what happens when he takes a break.”

After his Summer, Heyman continued to meditate on the idea and completed three other seasonal self-portraits. But since old habits die hard, he dictated a heroic and terrifying story of Hung

DANIEL HEYMAN Cade Tompkins Projects Autumn/2012

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a heroic and terrifying story of Hung Nguyen’s plight out of Vietnam while devouring a bowl of rice noodles in Fall: Artist Eats Pho, which is reminiscent of his previous portrait narratives of innocent Iraqi prisoners of war. Although the story may not be dinner fodder for some, Fall seems both concerned with listening to the story of Heyman’s new friend through his furrowed brow and having a bite to eat. An interesting detail is the view from the restaurant’s window: a nail salon.

Naturally, winter follows fall, and Heyman’s Winter: Artist Engages triptych is full of so many different layers that it takes a few moments to wrap your head around the piece, though it may initially be the center panel that gains the most double: embarassment might ensue if one were to stare. It’s the nudity in this piece that draws the attention because it’s not just one penis – it’s three large anatomically correct penises. The reaction may first cause us to blush, but Heyman has given so much information without having to write his own narra-

Daniel Heyman: Summer Fall Winter Spring, exhibition installation view When Photographers are Blinded, Eagles' Wings are Clipped 2010 and Winter: Artist Engages 2012. Courtesy Cade Tompkins Projects

tive. Something that stuck with me in this particular piece is not necessarily the genitalia, but amidst the mask, entangled arms and many eyes, it’s the spilling pill bottle in a left hand and two condoms in the right. It is undeniable to excuse Heyman’s rawness with his own personal story, but he still maintains his privacy due to the lack of written narrative in this portrait. The low relief panel to the right is undoubtedly mesmerizing.

Although this collection of panels is meant to translate onto paper, to see them assembled sculpturally is stunning. While I would never touch anything without asking, I felt a magnetic pull to run my hand over the work, which I resisted. Winter is the largest in the show, and it really transforms the space. Heyman’s touches of color in each of the works in the show add a hint of warmth; he even illuminates an owl through another stark landscape.

In DANIEL HEYMAN: Summer Fall Winter Spring, Heyman gives us layer upon layer of information rather than empty beauty. He uses historical art iconography and references to other cultures that feel like they had been churning in his head for a long time, waiting for the right moment to hit the etching plate.

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This museum quality exhibition transforms Cade Tompkins Projects into something that could easily be in the Jeu de Paume in Paris or a room in the Guggenheim in New York. The exhibition is up until October 27 and is a perfect treat on a Saturday afternoon following a token Providence brunch.

DANIEL HEYMAN

Summer Fall Winter Spring

DANIEL HEYMAN: Summer Fall Winter Spring is on display at Cade Tompkins Projects from September 8 to October 27, 2012.

For more information, visit cadetompkins.com

Cade Tompkins Projects 198 Hope Street Providence, Rhode Island 02906

(Entrance on Fones Alley between Angell and Waterman)

Hours: Weekdays Open by Appointment Saturdays 10:00 am to 6:00 pm Telephone 401 751 4888 cadetompkins@mac.com www.cadetompkins.com

DANIEL HEYMAN Cade Tompkins Projects Autumn/2012

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JIN SHAN

@ David Winton Bell Gallery Providence Kyla R. Foster

My Dad is Li Gang! by Chinese artist Jin Shan, is a solo exhibition which revolutionizes the David Winton Bell Gallery. Shan comments on the social and political behaviors pertaining to contemporary China’s cultural power structure via representations of objects and actions.

A bulky space station-shaped object adorned with small mirrors crashes into a hot glue replica of a typical Chinese three-wheeled cycle. The propinquity of these objects forces the viewer to relate the drivers of both; an astronaut and a Chinese migrant worker. The artist’s space station reproduction references China’s first successful docking of a manned

spacecraft (Shenzhou 9) with the Tiangong 1 orbital laboratory. The threewheeled cycle is a replica of the tricycles used by Chinese migrant laborers.

Without additional assessment, the two objects seem to merely contrast one another. In actuality, the positioning of the objects adds a second reading of Shan’s concept. Although the space station appears to be crashing into the tricycle and melting onto the floor of the gallery, it is also apathetically spinning. The relationship of the two objects in the piece and the slow rotation of the space station, allows the tricycle to appear as if it is the power source to the station.

Aiding in Shan’s concept of representing contemporary China’s dynamic power, he built walls within the gallery cube confining the viewers to a more blatantly constructed space. The fabrication of the walls that enclose the exhibit reference China’s recent development and demolition of buildings in hopes of economic sustainability.

The walls constructed by the artist are textured with marks and lines made by casts of Shanghai laborers’ hands attached to poles and dragged across the walls. The movement of the artist while creating the marks signifies the handson work of the laborers. That the labors’ hands are used by a different authority, in this case Jin Shan, illustrates the dynamic control of laborers in contempo-

JIN SHAN David Winton Bell Gallery Autumn/2012

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In addition to the hand casts and plaster walls, other materials support the idea that China’s power structure is dynamic among China’s social systems and the participants of such.

The tricycle is covered with stringy, melted glue which bonds the bike to the hundreds of mini mirrors on the slow spinning space station, forcing the viewer to become self-aware and conscious of others in the gallery through reflections in each mirror’s surface.

Many elements allow the viewer to see a constant exchange of power among the varying structures of China: The space station appears to be crashing and melting the tricycle while at the same time, the tricycle acts as a control source to the spinning station; the “fake”, ephemeral walls representing the construction and deconstruction of China in hopes of providing jobs for the migrant workers; the casts of the migrant workers’ hands are controlled by an outside source; the materiality of glue commonly used as a bonding

agent; moreover, the reflective use of mirrors.

Beginning as one of China’s most intense “human flesh search engines”, (a Chinese phenomenon resulting in massive influx of Internet research often used to reveal individuals to public humiliation) and now used a popular catchphrase, “My Dad is Li Gang”, was a hit-and-run incident in 2010 between a drunk driver and two students. The drunk driver, son of a deputy director of the Baoding City Public Security Bureau, Li Gang, hit two girls and killing one, fled the scene yelling, “Go ahead, sue me if you dare, my father is Li Gang!” By using the Internet as means of activism to create public backlash against the culprit, Shan assures the viewer that the political and social structures of contemporary China are in fact dynamic and fluid.

My Dad is Li Gang! is on view at Brown University’s David Winton Bell Gallery from September 1 until November 4, 2012.

Jin Shan, “My dad is Li Gang! 我爸是李刚!“ (2012), mixed media, dimensions variable Photo credit: Shane Photography

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DAVE COLE @ DODGEgallery New York

Jen Young

Dave Cole is a Providence based artist and madman genius. I frequented his studio in the months prior to his show at DODGEgallery in New York. He was dirty, stressed, yet obsessed and stoked about the work he was producing. Assistants were in and out of the studio, day and night.

After months of hectic determination, the exhibition at DODGEgallery manifests as an impressive presentation of Dave Cole.

Walking through giant doors into a narrow room one sees a large, old, wicker and wooden wheel chair with a mound of Buffalo Nickels that amass to the weight of the artist.

The piece is titled Song-Books of The

War. I flashback to an image of Dave, rolling down his studio hallways after he first acquired this antique, and before he had glued the collector currency. Now that it sits still and faces the entrance of the gallery, the chair emits a ghostly presence, reminding us of destructive times in American history.

The American flag remains a constant theme in Cole’s work, (in fact, one can see an edition of his Memorial Flag (Toy Soldiers) at the RISD Museum on the top floor contemporary gallery). At DODGEgallery, there hangs American Flag (Lead), one of an edition of eight, hand sewn with stainless steel wire.

The flag, measuring the exact dimensions of a standard American Flag,

is intricate and shiny, yet eerie in its subtleness of color. The stark grey of the lead and steel material of the flag seems like armor, ready to withstand an attack. During one of my visits to his studio, he was viciously sewing the grey lead strips together on a Juki sewing machine, simply raving about the quality of the machine in handling steel wire thread with few broken needles flying at his face. We giggled about the irony of using the Japanese brand to make his American Flag. Displayed at DODGEgallery, American Flag (Lead) rightfully deserves its own wall.

It is the type of piece you could stare at for hours, layered with intricacies of detail in concept and craft.

Singer, a 1920s Singer sewing machine scours the Internet in search of information regarding its own operation as it punches in code through a roll of paper that it is fed. The thick needle shoots up and down at varying intervals with the sound of a receipt being printed. It is a beautiful piece of furniture, a quality antique often seen in American homes. The altered function of the machine is confusing to me, but obviously deeply thought out in it’s engineering. The piece seems to be trying to stitch the show together, but proving unnecessary in it’s attempt.

DAVE COLE DODGEgallery

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Towards the back of the gallery we see a bannister that leads us to view a modern day steamroller on the floor below. With assistance from ‘Yardies’ at the Steel Yard, Cole altered the machine to produce a fully functional music box that disruptively plays "The Star Spangled Banner".

The Music Box highlights the show with impeccable grandeur. It is characteristic of Cole’s over-the-top absurdity that imitates imperialist notions of the United States. Cole re-conquers patriotic symbols within an artwork, defying pre-existing function and norm.

A gallery worker hears us coming and begrudgingly comes out of an office to plug it in. The giant machine makes a large grumble as the wheel begins to spin. Pegs that were

Dave Cole, 2012, installation view Photo: Carly Gaebe

Three wood-turned rattles lay on soft pillow pedestals attached to the wall. This piece, titled Three Generations, embodies different hand grenade designs, which are topped with cast sterling silver as the levers.

One would instantly appreciate the craftsmanship; yet immediately feel intimidated as to the notion it is suggesting - placing a grenade in an infant’s hands.

welded onto the wheel strike a wooden acoustic cabinet and the melody is created. The sound and the sheer sight of such a machine on the floor of a contemporary gallery seems so out of place; it is loud and obnoxious yet at the same time mind-blowing. You can walk halfway down the stairs onto a platform to gain a different perspective, then onto the ground level to peer around it and get a sense of its massive scale. Here you can view a timelapse film made by Providence’s own Robert Houllihan unveiling the process behind constructing The Music Box at the Steel Yard.

and he happily gives credit to the brilliant minds that helped him manifest his ideas. I am quite proud to be acquainted with him on a personal level and to have had the opportunity to see his work curated at DODGEgallery.

The concepts that Dave conceives are beyond impressive, and his work ethic extremely admirable. This exhibition is a must-see for anybody who is in New York.

Dave Cole’s work is on display at DODGEgallery from September 8 to October 28, 2012. For more information, visit dodge-gallery.com

It is obvious that Cole could never have produced such work on his own,

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LEONARDO DREW Leonardo Drew Number 161, 2012 Burnt wood, paint Site specific installation, dimensions variable

@ Sikkema Jenkins & Co. New York Marcel McVay

It is a rare occasion when a larger-than-life installation can hold a flavor of subtlety and integrate seamlessly with wall-based works, both sculptural and based on paper.

Leonardo Drew's new work exhibited

by Sikkema Jenkins & Co combines a gargantuan, site specific installation with a number of more humbly-sized wall installations and featured largescale wall pieces.

Scale ties this show together in a felt and embodied way. Upon entrance to the gallery, the viewer is immediately presented with a towering assemblage of gravity-defying, charred and intricately pieced together wooden lengths, shards and cuts. Navigating

Artwork Š Leonardo Drew Courtesy of Sikkema Jenkins & Co., New York

LEONARDO DREW Sikkema Jenkins & Co. Autumn/2012

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Number 153, detail 2012 Wood, 50" x 71.5" x 28"

Number 153, 2012 Wood, 50" x 71.5" x 28"

this thing takes particular attention – avoiding scattered debris fallen from the lofty heights of each peak (the piece easily towers to the height of Sikkema Jenkins' spacious ceilings), ducking swiftly as the beastly sculpture traverses through the gallery's doorways, following the undulating flow of black, wooden structure as it leads you through the white space of the gallery. The result is not an experience of the piece, but surely a stroll in and through it as it becomes the harbinger of one's experience.

Drew executes to near perfection, and breathes its way through every piece in this show: an overly developed vocabulary of form, movement, texture and above all, scale, executed with the consistent use of a singular material.

Although particular pieces in this show combine various materials such as aluminum and paper – each piece uses wood consistently, and most pieces use it solely.

ture of just one compartment quickly transforms in a glitch of perception into a vast and rich urban sprawl as the viewer takes a closer look – each tiny wooden shard becomes an inhabitance.

It invites the possibility of a miniscule reality, and for a moment, in a signature Leonardo Drew fashion, that possibility becomes real and the sheer scale of the world you're peering into overtakes the room. Traversing this birds-eye view to another section of this sculpture, one is In Number 153, as in all of his work, and brought to a world of cliffs, and jutting certainly every piece here, Drew cre- rock-faces. ates multiple worlds. The piece takes Holding secret and hidden nooks and on a singular form from a distance, but In a blink, the world of the gallery recrannies around every bend, aston- there are so many disparate geogra- turns, the piece shrinks to its original ishingly unique moments of Number phies to uncover and behold as one scale and suddenly the stark, black 161 present a quality of work that circulates the piece. The velvety tex- surface of Number 161 towers over you.

LEONARDO DREW Sikkema Jenkins & Co. 40

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It's been there the whole time – but the contrast of scale between the viewer's private microcosm focused by one of the various wall pieces and the immense scale of the installation cause the monstrous form to simply disappear.

Drew's highly developed vocabulary in this show's material of choice, wood, is sorcerous. It holds your attention with flourish as well as an audibly attenuated sentence, it is visually arresting and semiotic. It is a language that allows stark contrast in dialect with a singular material without illusion and it is a language whose details and monoliths communicate in verse to bring the viewer to potentially new relation to scale.

My exploration through the show was not taken alone. The gallery was alive with activity – and I don't believe I have ever seen such awe in the faces of gallery viewers as they swerved, ducked, and cocked their heads rounding the jagged surfaces and protrusions Drew's work. His sometimes criticized knack for universal themes and experiences, often acknowledging such broad swaths of philosophy as life, death and rebirth have proven in this case to access

experience in each individual – an impressive and sought after feat for all artists.

Leonardo Drew's installation is on display at Sikkema Jenkins & Co from September 6 to October 13, 2012. For more informaiton please visit sikkemajenkinsco.com

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LEONARDO DREW Sikkema Jenkins & Co. Autumn/2012

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use our page space for your business | your art or design | ampersands^ contact: jen@yellowperilgallery.com

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untitled (CB-6), 2010.

Kaolin/calcium carbonate/bone-ash and chalkboard paint 90x534”

BRIAN BENFER Chalkboard Series Sarah Doyle Gallery Kyla R. Foster

In Chalkboard Series, Brian Benfer analyzes the physical residue that remains from experiential situations while commenting on pedagogy and how academia defines the ways in which historical information is explored, taught and processed. Benfer responds to the idea of purity by finding and presenting physical residue as the only appropriate formant in which all entities are accurately represented.

Chalkboard Series is site-specific whether presented in a gallery, residence, museum or academic setting.

The artist first measures and paints black rectangles, often times referencing the dimensions of televisions or famous paintings, on the wall and then rubs a porcelaneous composite (handmade chalk) on the black shapes.

Through these actions, Benfer exemplifies the holes, dents, marks make by previous artists. Unearthing the remnants, marks, scars from the use before Interested in the information that him, proves as an appropriate homage is lost or concealed, Benfer found to the history of the space. in those particular places there is a consistent attempt to eliminate the As a symbol of academia, the chalkphysical presence of any prior artist board, now outdated, was essential in by means of spackle and white paint. all classrooms by which information

was relayed from teacher to student.

With the majority of media moving into the digital format, our physical involvement in the process of communication has become increasingly limited. The pixelated surfaces produced by “rubbing” hand-made chalk on the walls, whether compared to the “white noise” of a static television or the visual encryption of QR codes, are indicators of what is now a commonplace in our society as the digital devices we carry with us daily.

Brian Benfer’s ChalkBoard Series will be on display at Brown University’s Sarah Doyle Gallery from November 1 until December 12, 2012.

BRIAN BENFER Sarah Doyle Gallery Autumn/2012

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Dawn Mist, Yosemite.

PHILIP JAMESON Candita Clayton Gallery

Marcel McVay

In near direct dialogue with modernist photography heralded by names such as Ansel Adams and Alfred Steigliz, Philip Jameson's breathtaking black and white recreations capture hyper-real moments in nature. Having worked with Adams' former students, Joe Englander and Gary E. Adams, participated in Vermont's Fred Picker gatherings, studied and taught in the American Southwest, Jameson is a true master of black and white landscape photography. However, perhaps due to his practice in radiology and medical imaging early in his photographic career, Jameson's images offer something even more.

scendant quality of light, these gorgeous images reach our most luscious memories of landscape and bring them to life. Each and every wet stone and sparkling current are present and shimmering with life. We are taken with pleasure to a place that combines our perception of the environment around us and our imagination of it. Navigating the geography of each image unveils an eerie quality of movement, as if each leaf has held still for the instant it's seen, returning to life when out of sight.

This work brings to mind the ecological legacy of Adams' and his contemporarThrough an effervescent and tran- ies' work. Jameson presents us with

the opportunity to reflect on our relationship with our environment, both nature and built.

As he states,

"My passion for photography has not only been my personal quest for spiritual understanding, but also the desire through my work to convey to others how precious life is, and how fortunate we are to be here."

Jameson's photography will be on display at Candita Clayton Gallery from October 26 to November 24, 2012. Visit canditaclaytonstudio.com for more information.

PHILIP JAMESON Candita Clayton Gallery 44

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SPECIAL COLUMNS

COLLECT Concept Store

Over six months ago when COLLECT magazine was merely a concept, we toyed with the idea of launching our own art and design concept store for the curated lifestyle in Olnevyille under the same name.

Luckily, Amory Revival Management Company, the owners of The Plant, where Yellow Peril is located, made a generous leasing offer that we couldn’t refuse for #102, a 2,500+ square foot retail space across the parking lot from us. This exciting development gave In addition to gallery space for large- birth to our new Satellite Projects proscale art exhibits, we envisioned the gram, and the launch of #102 Satellite concept store to include live enter- Project, which is space devoted to new tainment, an espresso bar, works of artistic explorations and where COLart for sale, books, magazines and a LECT will be based from November to special section devoted to a local art December 2012. and design scene. Yes, ambitious and exuberant ideas to incubate, but like The COLLECT concept store will be all endeavors, time and money were comprised of three carefully curated the demons that needed to be exor- sections to enhance the shopping excised first. perience for art and design lovers: Exhibition, Flat Files and Made.

EXHIBITION showcases works of art in a variety of mediums from a single artist. The first featured artist is Joey Kilrain, whose signature style touches upon family, spirituality and corporate America. He will be showcasing works ranging from paintings, drawings, papiér-mâché sculptures, painted socks and sneaker lamps.

FLAT FILES features over a dozen makers of multiples and one of a kind works on paper from the most innovative and thrilling artists in Providence and beyond. Visitors can don white gloves and peruse works from artists in the Flat Files such as: Johnny Adimando, Joshua Baptista, Coco Berkman, Cara Blaine, Francesca Caruso, Gary Duehr,

COLLECT CONCEPT STORE 46

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Sneaker Lamps, 2011. wire hanger, paper, custom lamp Mens Size 9.5

Dana Dunham, Brooke Goldstein, Flynn Grinnan, Todd Jones, Rebecca Kandel, Phil Le Stein, Linda Nagaoka, Rodrigo Nava, Babs Owen, Quintín Rivera-Toro and Masha Ryskin.

MADE showcases art and design created in a particular scene. The first iteration is MADE IN OLNEYVILLE, featuring bespoke clothing, accessories, magazines, music and handmade furniture by 02909 residents like David Allyn, Cara Blaine, Jim Bradley, Shaun Bullens, DAMetals, Steph Grant, Molly Hagan, Headmaster, Mike Knives, Fire Sand, River's Edge Flowers, Philip Sawyer Designs, Joseph Skorupa, Nick Tomlin, Melody Tuttle, Tom West, and VaVaBlume.

We invite you to join us for the launch party for COLLECT on Friday, November 9th, from 7PM – 10PM at #102 Satellite Project in The Plant, 60 Valley St #102, Providence, RI. This Autumn issue of COLLECT magazine in its new square format will be available as well. Come experience a new way to collect art and design in the Creative Capital at COLLECT in Olneyville. Come experience a new way to buy art and design in the Creative Capital at COLLECT in Olneyville.

COLLECT CONCEPT STORE Autumn/2012

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SEPTEMBER OCTOBER @ #102 Satellite Project FLYNN GRINNAN Oct 5 - Nov 4 Reception Oct 5, 6-9pm yellowperilgallery.com @AS220 Project Space SNAKES & LADDERS: REBECCA SIEMMERING ON MAKING LISTS: MOLLIE DEERKIN Oct 6 - Oct 27 as220.org/galleries/ @Buonaccorsi+Agniel MONICA SHINN Sep29 - Nov 3 Reception Oct 18, 5-9pm theheadlight.com/gallery @Cade Tompkins Projects SUMMER FALL WINTER SPRING: DANIEL HEYMAN Sep 8 - Oct 27 cadetompkins.com @Candita Clayton Gallery ALLISON PASCHKE Sept 18 - Oct 21 canditaclaytongallery.com/

@Candita Clayton Gallery, cont'd PHILIP JAMESON Oct 26- Nov 24 Reception Oct 26, 6-9pm canditaclaytongallery.com/ @DeeDee Shattuck Gallery ANNA KRISTINA GORANSSON Sept 18 - Oct 21 THREE PERSPECTIVES Oct 24- Nov 25 deedeeshattuckgallery.com @LA GALERÍA at Villa Victoria Center for the Arts CONCRETE ILLUSIONS: Public and Private Spaces in Puerto Rico Sept 28 - Nov 10 villavictoriaarts.org @RISD Museum AMERICA IN VIEW: LANDSCAPE PHOTOGRAPHY 1865 TO NOW Sep 21-Jan 13 risdmuseum.org

@R.K. Projects MICRO-EUTOPIA Sep 20 - Nov 10 INTERACTION/IMMERSION Oct 5 - Oct 27 rkprojects.com @Samsøn Projects BEVERLY SEMMES + NICOLE CHERUBINI Sept 7-Oct 27 samsonprojects.com @Yellow Peril Gallery NAOMI CAMPELL Sep 13 - Oct 14 QUINTÍN RIVERA-TORO Oct 18 - Nov 11 Reception Oct 18, 5-9pm yellowperilgallery.com

NOVEMBER DECEMBER @ #102 Satellite Project COLLECT concept store Reception Nov 9, 6-9pm Nov 9 - Dec 31 yellowperilgallery.com @Cade Tompkins Projects MELINDA HACKETT Nov 9 - Dec 29 cadetompkins.com @Candita Clayton Gallery AS220 STAFF AND RESIDENT SHOW Nov 30 - Jan 4 canditaclaytongallery.com/

@Owls to Athens & E&O Tap FALL NIGHT RIOT Nov 1 facebook: Owls to Athens

@David Winton Bell Gallery UNTIL THE KINGDOM COMES: SIMEN JOHAN Nov 17 - Feb 17 www.brown.edu/

@Samsøn Projects VICTORIA FU Nov 2 - Dec 15 samsonprojects.com

@DeeDee Shattuck Gallery SMALL WORKS Nov 29 - December 23 deedeeshattuckgallery.com

@Yellow Peril Gallery JAMEY MORRIL Nov 15 - Dec 9 GAGE PRENTISS Dec 13 - Jan 13 yellowperilgallery.com

SUBMIT YOUR WINTER 2012 DEC JAN FEB info@yellowperilgallery.com

Launch Party

EXHIBITION

FRIDAY, NOV. 9, 2012 6-9pm #102 Satellite Project 60 Valley St. #102 Olneyville, Providence, RI Artwork: Johnny Adimando Attempt #5, 2012. folded silkscreen monoprint on paper 5.75"x7.75"

Joey Kilrain

One Step at a Time

MADE IN OLNEYVILLE

Open Nov & Dec 2012

FLAT FILES

concept store