NYAB Event - "SUMMER @ FLAG" Exhibition

"SUMMER @ FLAG" Exhibition

The FLAG Art Foundation

This event has ended.

Noriko Ambe
- ARTISTS BOOKS, Linear-Actions Cutting Project
FLAG logo- pronounced KIRU means cut in Japanese. This solo exhibition of New York based artist Noriko Ambe is comprised of a specific selection of artist books that were the result of an ongoing exploration by the artist. Utilizing twenty art monographs from artists such as Damien Hirst, Andy Warhol, and Tom Friedman, Ambe has meticulously cut hundreds of varying shapes and lines into each page of each book, creating intricately controlled biomorphic and sculptural fissures. Immersing herself in the body of work encompassed by each monograph, Ambe evaluated the nature of her connection with each artist and specific works - this aided in her decision of what to subtract and what to reveal.

Jennifer Dalton
MAKING SENSE
Like an archaeologist of the present-day, Jennifer Dalton collects and examines cultural information, organizes and evaluates this information according to her own personal criteria, and then displays her findings. These displays take the form of drawings, photographs or sculptural installations consisting of assembled or handmade objects. In Making Sense, she analyzes the cultural institutions Facebook, the New Yorker, and Artforum, testing her own biases and hypotheses and applying taxonomies where they might not be expected. Her process is quasi-scientific, at the intersection where apparently objective data encounters low-tech and personal methods and conclusions.

Robert Lazzarini
guns, knives, brass knuckles
guns, knives, brass knuckles, is an installation and exhibition of sculpture by New York based artist Robert Lazzarini. All of Robert Lazzarini's sculptures of the past decade begin with what the artist calls a 'normative object'. The works in the exhibition start with a set of common kitchen knives (chefs, paring, pruning, cleaver, etc.), a .38 Smith & Wesson Model 10 revolver, and a unembellished pair of brass knuckles. These objects are then subjected to mathematical distortions and fabricated out of the materials that are original to the objects themselves: blued carbon steel and walnut for guns, stainless steel, wood and plastic for knives; and yellow brass for brass knuckles. The combination of these distortions with the lack of any conventionally artistic 'material translation' (e.g. a car out of cardboard; flesh out of marble) renders these objects familiar yet strange and difficult, quite literally, to grasp. In canting the gallery's walls, Lazzarini extends the dislocation exercised on his objects to the space of their display. This altered environment not only further subjects one's perceptions to a kind of visual slippage, but also connects Lazzarini to a lineage of artists, from Richard Serra to Alberto Giacometti, distinctly concerned with processes of perception and visual abstraction.

The Magnum Mark
SELECTIONS FROM THE MAGNUM PHOTOS ARCHIVE
The signature styles of Magnum's photographers and their commitment to documenting the world have brought each of them individual acclaim. But it is their collective and it's archive, with its wealth of iconic images, that have guaranteed their influence on Twentieth and early Twenty-First Century visual culture. As digital technology usurps analogue, in both the taking and distribution of photographic work, the physical print archive, once at the heart of Magnum's business, has taken on a new role as a resource for scholarship and exhibition. This exhibition sets out to celebrate the legacy of Magnum's print archive, uncovering the processes behind traditional, manual, image dissemination, interpreting the mysterious marks on the back of press prints and demonstrating the craft of printing Magnum's famous photographs. It also looks to our digital future, in which technological innovation and the world wide web have created exciting new models to deliver, and re-interpret Magnum's photography.

Featured within the exhibition will be previously unseen press prints, darkroom "print maps", original contact sheets and additional ephemera from Magnum's New York archive alongside a new media component.

Media

• Drawing
• Sculpture
• Installation

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