Artipedia - Arts News

Ink Miami

Ink Miami 2007
December 5 - 9, 2007

Opening Brunch Celebration
December 5, 2007: 10 a.m. - Noon

Hours:
Wednesday, December 5th: 12 p.m. - 6 p.m.
Thursday, December 6th: 10 a.m. - 7 p.m.
Friday, December 7th: 10 a.m. - 7 p.m.
Saturday, December 8th: 10 a.m. - 7 p.m.
Sunday, December 9th: 10 a.m. - 3 p.m.

Location:
Suites of Dorchester
1850 Collins Avenue
Miami Beach, Florida 33139
http://www.suitesofdorchester.com
entrances on 19th Street, Collins Avenue,
and James Street

IFPDA Telephone: 212-674-6095
sponsored by the IFPDA

http://www.inkartfair.com

Following its successful debut in 2006, the 2007 edition of INK Miami Art Fair will open a day earlier on Wednesday, December 9th with a Breakfast Preview starting at 10:00 a.m. just steps away from the Art Basel Miami Beach Fair. The Fair returns to the Suites of Dorchester, where last year’s Fair drew raves from attendees for its presentation of exhibitors in spacious suites surrounding a lush central courtyard. The Suites of Dorchester is on the main thoroughfare to the Miami Beach Convention Center.

Unique among the sprawling group of fairs in South Beach, INK Miami 2007 is a focused event showcasing contemporary works on paper by internationally renowned artists during Art Basel Miami Beach. Twenty exhibitors were selected for this year’s Fair by the IFPDA’s Contemporary Committee and reflect the vitality of the contemporary membership of the IFPDA. These leading dealers and print publishers will offer collectors an opportunity to acquire 20th century masterworks as well as just-published editions by leading contemporary artists.

INK MIAMI 2007 EXHIBITORS:

Arion Press, San Francisco, CA
Crown Point Press, San Francisco, CA
Dolan / Maxwell, Philadelphia, PA
Dranoff Fine Art, New York, NY
Durham Press, Durham, PA
Graphicstudio/University of South Florida, Tampa, FL
Jim Kempner Fine Art, New York, NY
Marlborough Graphics, New York, NY
Mixografia ®, Los Angeles, CA
Paulson Press, Berkeley, CA
Riverhouse / van Straaten, Steamboat Springs, CO
Mary Ryan Gallery, New York
Shark’s Ink., Lyons, CO
William Shearburn Gallery, St. Louis, MO
Susan Sheehan Gallery, New York, NY
Sims Reed, London
Solo Impression, Inc., New York, NY
Tandem Press, Madison, WI
Diane Villani Editions, New York, NY
Charles M. Young Fine Prints & Drawings, Portland, CT

The IFPDA is a non-profit organization dedicated to ensuring the highest ethical standards and quality among fine print dealers, and to promoting greater appreciation of prints among art collectors and the general public.

For press information and images please contact:

Michele Senecal, Executive Director
International Fine Print Dealers Association
250 West 26th St., Suite 405
New York, NY 10001-6737
info@ifpda.org
http://www.ipfda.org
Tel: 212.674.6095

For more information go to: http://www.inkartfair.com

ArtSway

NATHANIEL MELLORS
THE TIME SURGEON
6 October - 25 November 2007

ArtSway
Station Road
Sway, nr Lymington,
Hampshire, SO41 6BA
t: +44 (0)1590 682260
mail@artsway.org.uk
Tuesday - Sunday 11am - 5pm

http://www.artsway.org.uk

Preview and Reception for the Artist: Saturday 6 October 2007, 2pm - 5pm
Free coach from Tate Britain to Sway on 6 October, Leaving at 11.30am, returning at 7pm:
Booking essential.

ArtSway is delighted to announce The Time Surgeon, a new film-based installation from Nathaniel Mellors, co-commissioned with the Biennale d’Art Contemporain de Lyon 2007. This new work was created while Nathaniel Mellors was artist in residence at ArtSway this year, and much of the film was shot on location in the New Forest. Nathaniel Mellors’ ArtSway residency is a partnership with the Arts Institute at Bournemouth.

The Time Surgeon is an absurdist film, partly inspired by Samuel Beckett’s Krapp’s Last Tape (1958) and Chris Marker’s La Jetée (1962), in which the central character’s verbal descriptions of torture, in combination with the fast-forward and rewind buttons on his Sony portable, are enough to send his tape-bound ‘Victim’ shuttling forwards and backwards in time. ‘Victim’ is steered through significant historical events, visiting 1960s New York and Renaissance France as well as Jesus’ crucifixion at Golgotha — arriving inside the body of Christ by mistake, causing the abortion of Christ’s conjoined ’sensible twin’, before finally meeting GOD – who requests the end of the art-work.

Nathaniel Mellors is known for his ad-hoc sculpture, psychedelic theatre and satirical films which target the question of who controls language.

Nathaniel Mellors (born Doncaster, 1974) graduated from the Royal College of Art in 2001 and lives and works in London and Amsterdam. Selected solo exhibitions include Hateball at Alison Jacques Gallery (2005) and Profondo Viola, Matt’s Gallery (2004). He is currently resident at the Rijksakademie, Amsterdam and will exhibit Hateball in The Present Order is the Disorder of the Future at De Hallen Haarlem this Autumn. Nathaniel Mellors was selected for a residency at ArtSway in partnership with the Arts Institute at Bournemouth’s text + work programme. text + work is publishing a full-colour publication to accompany the exhibition, entitled ‘B.OK’, and including new critical texts by Jennifer Higgie, David Evans and Martin Herbert. Nathaniel Mellors is represented by Alison Jacques Gallery, London and Matt’s Gallery, London.

For press images, interviews, and further information, please contact Laura McLean-Ferris on 01590 682260 x 16 or email laura@artsway.org.uk

A FREE COACH FROM LONDON WILL BE AVAILABLE FOR THE PREVIEW ON 6 OCTOBER, LEAVING FROM TATE BRITAIN AT 11.30AM AND RETURNING FOR 7PM TRAFFIC PERMITTING. PLEASE CONTACT ARTSWAY TO BOOK A PLACE AS SPACE IS LIMITED. A LIGHT BUFFET WILL BE SERVED ON ARRIVAL AT ARTSWAY.

Nathaniel Mellors will be in discussion with writer and critic Sally O’Reilly at ArtSway on 10 November 2007. To book a place, please contact ArtSway on +44(0)1590 682260

The Time Surgeon was developed by Nathaniel Mellors during an ArtSway Production Residency and co-commissioned by ArtSway and Biennale de Lyon 2007. The Time Surgeon will also be exhibited in Lyon 19 September - 6 January 2008. See http://www.biennale-de-lyon.org for more information.

ArtSway and The Arts Institute at Bournemouth offered a two-month production residency with a following exhibition at ArtSway and an accompanying publication/critical text as part of the The Arts Institute at Bournemouth text + work initiative.

ArtSway is a unique place in the UK’s New Forest to see, discuss, make and engage with significant contemporary visual art from the local to the international. A purpose-built and architecturally important gallery space hosts a changing programme of exhibitions and wide ranging creative opportunities for all.

Admission is FREE.

The Arts Institute at Bournemouth is a leading specialist higher educational institution, offering undergraduate and postgraduate degrees across a range of contemporary arts, design and media subjects. Its programme of text + work promotes dialogue between innovative contemporary art and design practice and its theoretical context.

The ArtSway Trust Limited A Company Limited by Guarantee Registered in England No 3894397 A Registered Charity No 1080107

For more information go to: http://www.artsway.org.uk

Rodman Hall Arts Centre

Objects of Affection
featuring work by
Susan Bozic, Meesoo Lee, Jillian McDonald, Maria Legault, Warren Quigley & Tanya Read

October 5 - December 2, 2007

Curated by Gordon Hatt

Rodman Hall Arts Centre,
Brock University
109 St. Paul Crescent
St. Catharines,
Ontario, Canada L2S 1M3

Panel discussion with the artists Friday, October 5 at 2 p.m.

Opening reception Friday, October 5 at 7 p.m.

Opening performance by Maria Legault Friday, October, 5 at 8 p.m.

Music by the band Ethel and the Mermen at 9 p.m.

Objects of Affection is an exhibition about misplaced love. Desire — that intoxicating stirring of affection for someone or something — is a constant throughout our lives. The objects of our affection, however, are constantly changing. What do we desire? Why do we desire, and how do we express this desire?

Desire is of course shaped and channeled by religion, tradition, education, class and culture. We are educated in wants and needs — taught what to hope and wish for and what to disdain. But lurking beneath our educated restraint are subconscious desires — desires motivated by needs other than those determined by culture and society. Our needs may be a striving for personal completion and fulfilment, something which may be little more than a projection of our own narcissism. Never quite satisfied, we are driven to confront a gnawing existential unhappiness, constantly desiring, in an endless search to somehow fill the feeling of an emptiness within.

The six artists in Objects of Affection address this existential longing through their work. Popular culture — that great vehicle for the creation and imaging of desire in the service of the consumer society — is referenced by all of the artists in the exhibition. Romance novels and advertising, Hollywood movies and fan magazines, soap operas and comics are the direct or indirect subjects of these artists. The artefacts of popular culture reflect back to us both our ideal and our comically pathetic selves. We attempt to measure ourselves against these representations but they never seem to fit. Engaging popular culture by appropriating its means — in effect talking back to it — these six artists create spaces for the desiring subject in a culture of publicity and celebrity. They address the inadequacies of popular culture’s representations of who we are and what we feel, and confront the feelings of emptiness that these images of popular culture do much to create.

* * *

Vancouver artist Susan Bozic has created the Dating Portfolio, a series of staged photographs depicting a young woman’s romantic fantasies. Her fantasy date in these photographs is a store window mannequin. Together they enact images that recall romance novels, billboard advertising, television commercials and Hollywood films portraying the blissful co-existence of happy couples. Her matinée idol mannequin is a pliant clothes hanger, providing an amenable but insensate partner in the illustration of the young woman’s impossible desire.

Meesoo Lee, also of Vancouver, has produced a series of videos he calls Pop Songs. Working within the genre of music video, Lee samples television and video, selectively editing and adding soundtracks. His resulting modifications tease out the structural relationships of the media and its content, focussing our voyeuristic gaze on televisual images of figure skaters, rodeo riders, actors and the other shooting stars of our media environment. Lee’s Pop Songs reveal video and film as a virtual peep show that feeds false intimacy to an atomized and insatiably desiring public.

New York-based artist Jillian McDonald’s video Me and Billy-Bob is a projection and examination of the obsessional fantasy that fuels our now pervasive celebrity culture. Me and Billy-Bob is a collage of clips from movies starring the actor Billy-Bob Thornton. McDonald digitally inserts herself into existing film clips as the recurring object of actor Billy-Bob Thornton’s affection. They exchange looks of longing, pleasure and pain, yet the desire remains unconsummated, looping infinitely. McDonald’s intervention is part of a larger body of work that includes other videos, a web site, a photo series, music, and a participatory tattoo project for fans.

Toronto-based performance artist Maria Legault’s work is based around a life-sized puppet she calls “Plus One.” As the name implies, "Plus One" is Legault’s imaginary partner — a foil and a projection of her desires and anxieties in being part of a couple. Their marriage and its disintegration is the subject of a performance where intimacy and communication are doomed from the start.

Ridgeway, Ontario artist Warren Quigley creates an installation environment through the arrangement of aspects of a motel room. His Love Motel makes reference to bordellos from New Orleans from the turn of the previous century, to the Love Motels of Asia in the 60s and 70s, to the North American roadside motels spawned by car culture. While other artists attempt to describe the elusiveness of desire through surrogate love objects, Quigley describes desire as a vacant shell of anticipation and regret.

Toronto-based artist Tanya Read created Mr. Nobody in 1998, a black-and-white anthropomorphic animal resembling a cross between a panda bear and a cat. Mr. Nobody is not the ideal integrated self, but the self as fragmented, aimless, confused and desiring. Like his popular television counterpart Homer Simpson, Mr. Nobody is a bottomless well of omnidirectional need and comic pathos.

For more information go to: http://www.brocku.ca/rodmanhall