This exhibition featured a 4’ x 40’ collage mural on 12 ounce unprimed canvas. Cut up and sold by the foot when the exhibition was over, the collage was comprised entirely of architecturally-themed paper ephemera. In the end it served as a tableaux of a lost and forgotten vocabulary unique to designers who once rendered with paint and brush. Using intricately cut pages from “withdrawn” library books, I took that which was fragmented in order to rebuild it. Having passed through many hands for decades, these decommissioned books could be lost to the digital age but the objective was to commemorate them through art and collage.
I have an insatiable desire to deconstruct and reorder the urban fabric through collage; cut and paste collage with a nod towards the masters Anne Ryan and Kurt Schwitters. Collage is a hoarders art and everything that is printed has charm and magic, but I also consider the surface of medium format film an opportunity for collage. Using masking devices that fit between the film and the lens inside the camera and exposing the film several times, a palimpsest of information is recorded. These are imagined, fictitious cartographies.
On view from October 25th, 2014-January 25, 2015, PAPER/WEIGHT was a three-person exhibit of artists who used the materiality of paper and its printed surface to create works that belie the thinness and fragility of its construction.
The three artists, Stacy Greene, Jill Stoll and Maria Levitsky all have backgrounds in photography. The exhibit presented work that extended the medium of photography to include found printed matter, handmade paper, hand and computer-assisted laser cutting as well as traditional photographic prints.
Jill Stoll’s artful handmade mail-art postcards are available through a subscription-only process, and are fabricated out of recycled photographic prints, found magazine imagery and laser-cut paper shapes with over-lays of hand-typed text. The edges interrupt the cut-outs, with polka dot excerpts of vintage silver gelatin prints containing miniature slices of landscapes, like quotations from lines of poetry. The pieces are displayed in hanging grids of transparent pockets, making both sides visible. The work is both intimate and universal, small enough to hold yet reaching as far as the post office will go.
The exhibit took place in the newly renovated Chateau Curioso, an alternative space in a house in the Holy Cross neighborhood of the 9th Ward of New Orleans.
Maria Levitsky, Curator
There are 1,600 luminaires in New York’s Central Park. When the lamp of a luminaire is on during daylight hours, the Parks Department refer to it as a “dayburner.” There are several reasons for a dayburning luminaire. Two of the most common reasons are the timers are malfunctioning or because a contractor is on site replacing burned out lamps. Dayburning luminaires appear in small clusters throughout the seven zones of the park.
To date, I have photographed nearly 600 of these infrequent sightings. Each image is of an individual luminaire,which is distinguished by a unique number assigned by the Parks Department. In her book, “Red-Tails In Love,”Marie Winn describes this system of numbering as “one of the parks many secrets: the first two digits on each lamppost tell its location relative to the nearest city street (page 12).” In addition, if the last two digits end in an odd number, the luminaire is on the west side of the park; in an even number, the east side.
I was originally drawn to the intersection of artificial and natural light as recorded through the lens of vintage medium format plastic cameras. However, the project became more prominent in my studio practice after the terrorist attacks of September 11, 2001. Like most New Yorkers, I was looking for a way to soothe my shattered nerves. I learned during this period that in order to recover from the shock of such staggering violence, it helps to follow a meaningful schedule. Going to the park with my cameras became my salve. I found the repetition of photographing these lights to be a comfort.
In my art process, I find working within a structure or giving myself certain rules to follow liberating. While each frame is composed similarly, the variation between images is vastly different, showing unique background landscapes, buildings, seasons, shadows and sky. Shooting with close to thirty different vintage medium format plastic cameras adds to the visual range of the series.
I am particularly interested in drawing attention to details in the landscape, urban or rural, that are taken for granted or otherwise overlooked. My objective is to photograph all the dayburning luminaires of Central Park.