Stack This Press Release Until Its 9 Feet Tall

Modernity gives birth to phenomena that are difficult to articulate, not least of which is a kind of faith in the direct relationship between phenomena and their articulation. This is just to say “bear with me”.

We talked about Brancusi’s Endless Column, that big knotty extrusion which seems to grow right out of history. But we could just as easily reverse the direction of force (think Walter De Maria’s Vertical Earth Kilometer). Taken together there is a kind of dipping. A piston like motion which, vis a vis time, constitutes the central motor of an artistic practice.

Rochelle Goldberg’s Dead-end, Infinite. is all trajectory and trace, or maybe a trace of trajectory. It makes me think of those dangling donuts of dust that cartoon rocket ships leave in their wake. But then again it is so stubbornly present. It feels like it will be here for ages, experiencing a different kind of trajectory, a different kind of dust. It plods along the path from art to archeology beginning its accumulation of dust -to say nothing of its gravitas- in the studio and never looking back. The viewer, a black jean wearing connoisseur, transforms into a scientist in a futuristic Hazamat suit.

Like Dead-end, Infinite. Elaine Cameron-Weir’s piece points in two directions at once. Those stainless steel racing stripes are like the stem of an arrow without the head or tail. Our attention is directed downward and I cant help but suspect that its feet are very charged. Lets ask Bataille: “Although within the body blood flows in equal quantities from high to low and from low to high, there is a bias in favor of that which elevates itself, and human life is erroneously seen as an elevation.” Cameron-Weir has given these feet “an exceptionally burlesque value.”1

I knew it. Those feet could star in a pervy Youtube video. The sculpture seems to ask “Is there a space for me between the ionic and the yonic?”

Speaking of weird spaces how about Robin Cameron’s Monument to Pedagogy? It is rife with the classic signifier’s of the classroom: the books, the blackboard the… orange? An apples to oranges comparison machine. It is nonsense in the best sense. I smell the outdoors in its precarious logic. The nowhere of recess, of finding a dead animal, or a piece of litter in the outfield. It seems to live in the stolen temporality one gets by playing hooky.

Perhaps this sculpture is a descendent of the school of fictive formalism begun by Tom Sawer, that trickster practitioner of the inkwell pigtail drip painting and the serial whitewash monochrome.

At the time I’m writing this there is no title for this exhibition. That seems fine the show being comprised of 3 capital I’s. Do they really constitute an I? Perhaps an Other? If you think you know look again, this time with the other eye.

Sebastian Black, 2012

1 Georges Bataille, The Big Toe, Visions of Excess: Selected Writings, 1927-1939, ed. Allan Stoekl (University Of Minnesota Press, 1985) 20, 22.

Robin Cameron, (b.1981, British Columbia, Canada). Robin Cameron's books are available at Printed Matter and held in the collection of the MoMA library. She is pursuing her MFA at Columbia University and will graduate this spring.

Elaine Cameron Weir, (b.1985, Alberta, Canada). Elaine Cameron-Weir will have her second solo show in New York at Ramiken Crucible this coming spring, as well as a solo show at Desaga in Cologne, Germany.

Rochelle Malka Goldberg, (b.1984, British Columbia, Canada.) Rochelle Goldberg is an artist that lives and works in New York.

Robin Cameron Elaine Cameron-Weir Rochelle Goldberg February 16 — March 17, 2012 Opening Reception February 16, 6 — 8 pm Martos Gallery 540 West 29th Street New York, NY 10001 212.560.0670 info@martosgallery.com www.martosgallery.com

 

The Work Locates Itself

 

Opening Reception

Friday, January 20, 5-7pm

 

Curated by Robin Cameron and Kari Cwynar

 

Lucien Durey

Shayne Ehman 

Allison Freeman 

Bitsy Knox

Arvo Leo

Davida Nemeroff

Tabitha Gwyn Osler

 

 

This exhibition began as a consideration of the dispersion of Canada’s artistic community, questioning the existence of common ways of thinking and making when artists pass like ships in the night. This is the new internationalism and an age-old Canadian tradition. Leaving. But to relocate to unfamiliar territory can be both challenging and productive, and the seven artists brought together here in New York demonstrate a variety of approaches to art-making completed during or after a significant journey. Journeys of mind, body, object, idea and memory. Common threads emerge in spite of geographical gaps. Above all, the work itself communicates a purposeful engagement with one’s surroundings. New places of living and working exist simultaneously with lingering specters of past homes, senses of longing and distance, and spaces between here and there. Is it time to consider the Canadian art scene as a constellation of disparate geographies? Think about the point of origin, the journey, the goal and the final destination. Why did you go where you went? How do you work now that you work where you work? From where does the work originate?

 

Exhibition Dates
January 18 - February 10, 2012

LeRoy Neiman Gallery, Columbia University School of the Arts
310 Dodge Hall, 2960 Broadway at 116th Street
Hours: Mon - Fri, 9am to 5pm

 

 

 

 

 

 

 

 

 

 

My studio at Prentis Hall 213 will be open.

—

Columbia University School of the Arts: Visual Arts Program — MFA Open Studios
Sunday, November 20, 2011

Watson Hall Studios will be open from 2pm – 4pm
612 W. 115th Street, New York, NY 10027

&
Prentis Hall Studios will be open from 3pm – 6pm
632W. 125th Street, New York, NY 10027

The second-year MFA candidates’ studios will be open to the public. 
Each student is present to discuss his or her work in an informal setting.


Korakrit Arunanondchai
Julia Benjamin
Sebastian Black
Robin Cameron
Nathan Catlin
Lea Cetera
Caitlin Cherry
Lisa Cobbe
Jeremy Couillard
Ernst Fischer
Ben Hall
Kristina Lee
Alexandra Lerman
Molly Lowe
R. Lyon
Irini Miga
Susan Morelock
Claudio Nolasco
Bea Parsons
Jordan Rathus
Corey Riddell
Sandy Smith
Maria Stabio
Ian Warren
Matthew Watson
James Yakimicki

 

Paul Theobald and Company
Lauren Anderson, Robin Cameron and Paul Stoelting

October 28, 2011 - November 27, 2011

Opening October 28, 2011 6-9pm

Golden Age is please to announce our final exhibition, Paul Theobald and Company, featuring painting, photography and sculpture from Lauren Anderson, Robin Cameron and Paul Stoelting—three young artists hinged together by an interest in anachronism. 

The exhibition takes its name from the forgotten art bookshop cum gallery cum publisher located in downtown Chicago from 1936 to 1988. Paul Theobald and Company Publishers began during World War II when the supply of European art books was severed due to the ongoing international conflict. In response, Paul Theobald and Lolita Cruz Theobald began to publish works from the now-legendary artists, architects and thinkers that frequented their shop. 

We invoke the legacy of Paul and Lolita Theobald, the New Bauhaus émigrés they championed–Moholy-Nagy, Kepes, Hilberseimer, Gropius, and Malevich–and the distinctly American modernism they celebrated. While Chicago can claim this history, most of the creative community would prefer that it die. Golden Age proudly adopts this legacy because death—in the way that painting is “dead” or books are “dying”—is decidedly more interesting than novelty. 

With tradition, datelessness and the “anti-novel” in mind, the artists in Paul Theobald and Company use dead forms stripped of time, technique and function to communicate the experience of living in the present moment. Cameron considers the truth of presentation with palpably modern marks that conjure a sense of beauty similar to Alma Thomas, Hans Hoffman and Stuart Davis. Anderson presents a series of sandblasted glass drawings that recall the paintings of Ray Eames while resisting any easy classification. Finally, Stoelting directly links 1945 to 2011 by introducing one open, angular, three foot sculpture that contains a digitally created AbEx painting. 

For us, modernism means having the authority to pick and choose from all of history, regardless of convention, and using what is most appropriate for each new project. When history is so readily available and flattened by the immediate forms of reception, anachronism characterizes our current day. We enjoy the “misplacing” of customs, people, and objects. Instead of fantasizing about traveling to 1750 with a computer, we disrupt the contemporary with books. As Golden Age comes to a close, we invite you to look to the future, by acknowledging the past.  

Golden Age

119 N Peoria St. #2D

Chicago, IL 60607 USA

+1 312 288 8535