|Photo: Harry Hambourg|
The North Brother Island is located between the Bronx and Rikers Island. Uninhabitable until (1885), when Riverside Hospital moved from Blackwell's Island as we know today Roosevelt Island, used to isolate and treat quarantinable diseases and heroin addicts, some patients complained that there were there with out there will including the infamous Mary Mallon nicknamed Typhoid Mary. During the Second World War the hospital facilitate army personnel. Tragedy strikes again when passenger steamboat PS General Slocum caught fire and sank.
Mary Mallon (Typhoid Mary) was accused of infecting 51 people were 3 of them died, Mary was an immigrant cook from Ireland and through out her life has changed several jobs due to health concerns infecting people with the disease. She refused to collaborate with health services demanding that she was diseased free. Typhoid Mary served in the summer time wealthy
|PS General Slocum|
Remarkable North Brother Island took place in extraordinary events merely perceiving it's existence as a legitimate way to treat and host living standards in a period other hygienic homogeneity troubled free era beginning of 19th century, since closed right after the death of Mary Mallon for corruption, by the management of Riverside Hospital. The North Brother Island will be re-open to public by 2016; after clean up and it's natural habitat protection requirements issued by NYC Department of Parks & Recreation.
537 W 22 St #1, NEW YORK, NY 10011
The Andrew Kreps Gallery is pleased to present its first solo exhibition with Jamie Isenstein, entitled Para Drama. The works in the show explore Isenstein's continued interest in the mercurial nature of truth, illusion, the self, the body and performance as seen through the window of a haunted house.
In the lingo of the ghost hunters, the term para-drama is sometimes used to describe the annoyance created when some paranormal investigators enact fake spirit activity often for spectacle on television. But in this world where no one has scientific proof to backup their research, who can say what has been faked and what was not? The exasperation created by this problem has led to terrible infighting in the community, as different groups accuse each other of faking evidence and using claptrap gear. It is a slippery slope between believer and non believer when those who swear they saw a ghost have to use enchanting gear and theatrical conventions such as darkened lighting to convince others of their claim.
Isenstein has used the disorientation of the para-drama as a starting point for work in the exhibition. Much of the work in the show straddles this line between suspension of disbelief and attempts at a transparency and truth. In the sculpture/performance Mechanical Bed, 2015 the acts of leaving and coming are made apparent in the shifting of sheets and covers by an unseen actor. The bed appears to make and unmake itself as if a ghost sleeps here. The title refers to a famous 18th century automaton, the "Mechanical Turk" that apparently played chess with a human opponent. Eventually, it was revealed that a small chess master inside the case operated the figure. As with Mechanical Bed, 2015, the works in the exhibition also ruminate on the paradoxes of creating presence from absence, and vice versa. Ghost Clothes, 2014, represents the traditional Halloween costume - a hokey bed sheet with eyes cut in the center - suggesting a present figure is actually absent - or a white gallery wall so that it camouflages and disappears. Only the eyeholes remain like mask.
Like the protean body of a ghost, the work in this exhibition often suggests disembodied body parts that morph and change and take on lives of their own. In a corner of the gallery, gloved hands seem to cast a spell on an invisible subject sitting in a chair. Lying on pillows on the floor are harlequin masks that spew fire from their eyes or mouth like fire-eaters or deranged circus performers. And on the wall are a series of photographs of masks wearing masks. By putting on masks the support masks become anthropomorpized into faces so that these inanimate objects come alive. At the same time, the layering of nothingness becomes. Onions, 2015, is a sculpture of many masks layered over the hollow head of a mascot costume. The title of the work refers to a monologue in the Henrik Ibsen play Peer Gynt in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eventually he comes to realize there is nothing substantial at the core.
Jamie Isenstein has had a solo exhibitions at the Hammer Museum in Los Angeles and more recently at the Douglas F. Cooley Memorial Art Gallery at Reed College in Portland. Her work was recently featured in Praftall Tramps at the Atlanta Contemporary Art Center. She has also exhibited her work at CCA Wattis Institute for Contemporary Arts, San Francisco, P.S.1 Contemporary Art Center, Long Island City, the Manchester International Festival, UK and Tate Liverpool UK.
John Giorno's first solo exhibition at Elizabeth Dee, SPACE
FORGETS YOU, is on view April 2 - May 9, 2015
545 West 20th Street
New York, NY 10011
Elizabeth Dee is honored to present SPACE FORGETS YOU, a new exhibition of recent paintings and works on paper by John Giorno. The exhibition opens on Thursday, April 2nd with reception from 6-8pm, and continues through May 9th, 2015. To accompany the exhibition, Giorno will also perform at exhibition's final week on Friday May 8th at 6:30pm.
Giorno's explosive, visual and concrete works continue in a new series of rainbow paintings that occupy the front gallery. Works such as LIVING IN YOUR EYES, LIFE IS A KILLER, and I WANT TO CUM IN YOUR HEART coexist and resonate. The exhibit continues with two bodies of drawings, including THANX 4 COMING, GOD IS MANMADE and IT'S WORSE THAN I THOUGHT. The devoted rooms to each series manifest the range and depth of Giorno's creative production in painting, graphite and watercolor. The pulsating delivery of Giorno's reading style, with line breaks and repetition, dictate tempos within the exhibition and encourage reinvestigation of phrases.
Many of the texts employed in Giorno's new works were originally sourced from poetry that the artist has written, or lines that never made themselves into a final poem. The clarity of the word's visual impact hangs in the air and penetrates the mind. Giorno's history with concrete poetry techniques date back to his first visual works in the late 1960's. The culmination of his practice today, can arguably be traced back to his first series, when Giorno was exploring the audio and visual perception of words on a field. This interest led to collaborations and sound recordings that further defined Giorno's live performances.
Giorno is an artistic innovator who has been defying assumptions of poet, performer, political activist, Tibetan Buddhist, and visual artist since he emerged upon the New York art scene in the late 1950's. He is one of the most actively producing and performing artists of his generation. In the 1960's, noticing that poetry readings were curiously lacking in audio capability, Giorno began collaborating with innovators at the forefront of electronic audio technology. He began producing multi-media, multi-sensory events concurrent with Warhol's Exploding Plastic Inevitable. He worked with Bob Rauschenberg in Experiments in Art and Technology (E.A.T) in 1966, and with Bob Moog in 1967-68. His breakthroughs in this area include Dial-A-Poem, which was first exhibited in 1968 at the Architectural Society of New York, and was additionally exhibited in the Museum of Modern Art's Information exhibition in 1970.
For more about John Giorno's latest solo exhibition please click HERE.