R E A L F O R M

Tuesday, December 21, 2010

OPEN CALL FOR AN EXHIBITION

Curated by David Gibson 

Art 101 Gallery
101 Grand Street, Willamsburg

April 22 - May 29, 2011

Please submit your idea for a solo or duo installation for a space measuring 7 x 8 x 2 feet long and 8 feet high, possibly working on an adjacent window (adding 3 more feet to one side) but not blocking illumination. 

Send to: articleprojects@gmail.com
Posted by David Gibson at 8:32 AM

0 comments:

Post a Comment

Newer Post Older Post Home
Subscribe to: Post Comments (Atom)

Blog Archive

  • Dec 28 (2)
  • Dec 29 (1)
  • Aug 09 (1)
  • Aug 31 (1)
  • Dec 21 (1)
  • Jan 19 (1)

REALFORM ARTISTS

  • ANDERSON, KRISTIN
  • BLIZARD, CHRISTIE
  • BRAFMAN, MARCY
  • BURTON, CAROLINE
  • BUSCHUR, JORDAN
  • CALABRO, VICTORIA
  • CARPENTER, JENNY
  • CERVANTES, EDUARDO
  • CHAIKLIN, AMY
  • CHANG, LING
  • CHIARELLO, JAMIE
  • COCUZZA, JULIA
  • CONNERTON, KIM
  • DAIL, JULIANNA
  • DANIELS, KATHERINE
  • ELROD, GEORGIA
  • FAYER, LAURA
  • GAUTHIER, EMMANEUELLE
  • GIANNINI, TARA
  • GIBSON, ALICIA
  • GORDON, PAMELA
  • GRANT, ROBERT
  • INSOGNA, LIZ
  • KARPMAN, DEB
  • KIERNAN, SCOTT
  • KILLE, ISOLDE
  • LANINA, YULIYA
  • LIZ-N-VAL
  • MACK-VALENCIA, SANDRA
  • MILLER, GEOFFREY OWEN
  • MURPHY, MARY
  • NORKIN, MICHAEL
  • OLSON, JEREMY
  • OLSON, SARAH
  • PELLI, LEEMOUR
  • PENN, GELAH
  • POHL, DEBORAH
  • POWER, MARK
  • ROSELLI, GRACE
  • SCHALL, MICHAEL
  • SITRON, JENNIFER
  • STRANDELL, MARY ANN
  • SWEETEN, NATASHA
  • THOMAS, AUSTIN
  • TODA, FUMIKO
  • TOWER, CINDY
  • TRIGG, SARAH
  • VANCE, KATHLEEN
  • VOGEL, CONRAD
  • VOTE, MELANIE
  • WALDMAN, RUTH

REALFORM: THE BACK STORY

In August of 2003, I began to curate a very special space in the heart of downtown Williamsburg. Only one hundred and eight square feet of space with one wall and windows on three sides, Realform Project Space was not a gallery but an incubator, where public and private met through a veil of shop-window glass. Prior to my stewardship it was curated by Larry Walczak of Eyewash Gallery, and before that it was just a dusty corner of the entrance vestibule of the Realform Girdle Building, housing various local businesses such as The Verb Cafe, UVA Wines, Spoonbill and Sugartown Bookshop, and The Bedford Cheese Shop.

What made Realform Project Space different from its predecessor is that I didn’t make a visible effort to establish it as a purely installation-oriented space, but also used it to showcase artists who made small-scale sculpture, painting, and drawings—works which would not necessarily translate into a larger exhibition in a big Chelsea gallery, for instance. Some of the best ideas are small ideas, ones that are allowed to hibernate in the mind until they hatch into grand schemes, or develop into subtler and more refined versions of themselves. I liked the idea of a space that would allow such ideas to be exhibited on their own terms.

With each exhibition mounted at Realform, I learned something new about how to choose and install artworks for a venue as intimate yet public as this one was. The result of a successful installation is a good show. Many different types of work was chosen to be exhibited at Realform, and I never regretted any of the choices we made. The first one was more of necessity, since it was important to hang something quickly for the month of August, and it had to be someone who was in favor of that. Since the venue was new, and people didn’t yet know about it, it had to be work that wasn’t usually seen in those corners.

I asked Grace Roselli to be the first artist. Grace is a painter whose work was at that time just turning the corner to a new subject matter and a new way of depicting it. For a few years she had been producing these large scale drawings that were basically portraits, drawn larger than life with a double image, either side by side facing forward, or with a larger image of the same person in back of the first. Her new work was less prosaic, and intertwined portraits with a personal mythology the comprehension of which, in any verbalized sense, was still taking shape. These were depictions of emotional sates, and of issues that reacted to femaleness, history, and issues if the painterly depiction of emotional issues. There was nothing slick and trendy about these images, nothing hip or ironic. They were personal yet sacred. I knew they would elicit a response from even the most casual passerby.


SEE LINKS TO FEATURED ARTISTS AT END OF BLOG

Contributors

  • David Gibson
  • David Gibson

Followers

Simple template. Template images by gaffera. Powered by Blogger.