NEW YORK, NY, May 17, 2010 – Ogilvy & Mather New York will be hosting New Language the third in a series of art installations at its office space – The Chocolate Factory – with a show featuring the work of 14 emerging and established contemporary artists.
New Language explores the construct of language, its persistent ambiguity and the shifting character of language in the age of new media. The work featured represents a diverse range of artistic styles ranging from political textiles, photography that indexes arcane textual works, and large sculptural installations that employ portions of texts as building blocks.
In commenting on Ogilvy & Mather’s support for the arts, Tham Khai Meng, Worldwide Creative Director said, “We are a company of artists, writers, designers, and creative people who use creativity to drive commerce. Our employees need to always be looking for inspiration and art is the ultimate medium for new forms of expression.”
Artists featured include Lisa Anne Auerbach, A.J. Bocchino, Iván Capote, Seong Chun, R. Luke DuBois, Mark Fox, Joshua Gurrie, Yael Kanarek, Glenda León, Danica Phelps, Alyssa Pheobus, Mickey Smith and Rachel Perry Welty, We feel fine (Jonathan Harris and Sep Kamvar). The exhibition is being curated by Jun Lee of Ogilvy & Mather New York. It will be on display at Ogilvy & Mather, “The Chocolate Factory,” on floors 4 and 8-11, from May 19 to October 15, 2010.
To see the exhibition, please email Jun Lee, agency curator, at firstname.lastname@example.org.
Read the artists' biographies below.
Lisa Anne Auerbach
Los Angeles-based artist Lisa Anne Auerbach has created a number of knit sweaters using slogans, songs and speech. The project is intended to encourage people to actively participate in the political process. Taking over where T-shirts left off, her sweaters combine textile design, careful craftsmanship and luxurious materials into objects that will endure long after the political battles have faded away. Auerbach’s practice also includes photography, self-published zines, and the Tract House, an ongoing project which has been exhibited at the Contemporary Museum, Baltimore and Philagrafika 2010, Philadelphia.
Auerbach is an assistant professor of art at Pomona College and holds an M.F.A. from Art Center College of Design, Pasadena, California. She has had solo exhibitions at the Aspen Museum of Art, Aspen, CO; Gavlak Gallery, Palm Beach, FL; Nottingham Contemporary, Nottingham, UK; and the University of Michigan Museum of Art, Ann Arbor, MI.
249 B Worth Ave, Palm Beach, Florida 33480
A.J. Bocchino collects headlines and photographs from different media sources including the New York Times, The Washington Post and Newsweek. This information is used as data for systems that generate complex drawings and sculptures. His projects are driven by an analysis of the mass media as well as the processes of accumulation, archiving and record keeping. In these particular works, he has excised the main headline from the front page of the New York Times every day for six years: 1929, 1930, 1931, 1932, 1933 and 2008.
The headlines are listed in chronological order and are color-coded according to subject. This project examines the parallels between the economic collapse of the 1930’s and that of today.
Bocchino received an M.F.A. from Tyler School of Art at Temple University, Philadelphia. He has had solo exhibitions at White Columns, NYC; Urban Glass Gallery, Brooklyn, NY; and Hemphill Fine Arts, Washington, DC.
Cuban artist Iván Capote has been exploring language-based learning disorders such as dyslexia for some years. Through sculpture, he visualizes the experience of someone suffering from amnesia or dyslexia as they struggle to recognize and then recall the look of letters they saw only a second ago, or memories they experienced in the past. A more playful, Duchampian experimentation with language can be seen in Autumn, a sculpture that spells out FALL and appears to be literally falling to the ground.
Capote studied at the National School of Art in Havana, Cuba. He has exhibited at the Mattress Factory, Pittsburgh, PA and at the 8th Havana Biennial. He has exhibited solo at Brownstone Foundation, Paris; the Havana Galerie, Zurich; Gallery Habana, Cuba; and has work in the Daros Collection.
Calle Linea #460 e/E y F, Vedado, C. Habana. Cuba
Seong Chun’s sculptures are elaborately crocheted from paper in which text is embedded within the constructed form. Words are printed onto the surface of the paper, which is then painstakingly stripped, joined or folded to make “spools” of paper yarn. Chun employs texts from such sources as Italo Calvino’s Invisible Cities and Gaston Bachelard’s The Poetics of Space to contemplate the infinite permutations of memory and ideas.
Chun is a graduate of UC San Diego and New York University. She has exhibited at the Sculpture Center, Long Island City, NY; Weatherspoon Art Gallery, Greensboro, NC; Castle Gallery, New Rochelle, NY; and the Gwangju Biennale in Gwangju, South Korea. She has also had solo exhibitions at Caren Golden Fine Art, NYC; Esso Gallery, NYC; the Brooklyn Public Library, Brooklyn, NY; and Gaain Gallery, Seoul, South Korea.
512-2, Pyungchang-dong, Jongno-gu, Seoul, 110-848, Korea
+82 2 394 3631
R. Luke DuBois
R. Luke DuBois explores the dynamics of individual words and representations of power in 43 prints by sorting State of the Union addresses from each U.S. president according to word frequency and generating a Snellen eye chart for each president, with the more frequent words in larger typeface at the top of the chart and the less frequently used words at the bottom. As a result, the list contains words that are not only important in a given presidency but also provides an up-to-date lexicon in a contemporary context. The aim of the piece is to make a statement about the constant political metaphor of vision, without which much of the rhetoric of presidential politics deflates.
DuBois completed his M.F.A. at Columbia University. His exhibitions include the Cleveland Museum of Art; Daelim Contemporary Art Museum, Seoul; the 2008 Democratic National Convention; and the Weisman Art Museum, MN.
529 West 20th Street, New York, NY 10011
Mark Fox works primarily with paper, creating projects that explore the unexpected and sculptural qualities of this ephemeral medium. Pale Sawhorseman is the first in a series of four sculptures referencing the Four Horsemen of the Apocalypse, as described in the Book of Revelations. Taking a razor to the texts and forming them into carefully joined sculptural forms, Fox literally deconstructs accepted truths and religious dogma. Larissa Goldston Gallery suggested that the Sawhorsemen series can be read as a kind of “imploded illuminated manuscript.”
Fox graduated with an M.F.A. from Stanford University and a B.F.A. from Washington University, St. Louis. He was the featured artist at the Whitney Museum of Art’s Art Party, and he has exhibited with Larissa Goldston Gallery, NYC; Rice University Gallery, Houston, TX; and in Slash at the Museum of Arts and Design, NYC.
Larissa Goldston Gallery
530 West 25th St, 3rd Fl. New York, NY 10001
In this new work, Joshua Gurrie explores the problems of communication in the digital age: media oversaturation, the informality of shorthand and the narcissistic ploys of social networking.
In response to this persistent and vexing state of affairs, Gurrie returns to unmediated personal connection with an installation of objects from his everyday life. In what appears to be an arbitrary mix of drawings, collage, notes, photos and scraps, the installation offers a glimpse into the artist’s work space and mind.
Australian-born Gurrie holds a degree in graphic design and divides his time between producing art, curating and freelance design projects. He has exhibited in the United States and Australia.
40a Jewel St, #2, Brooklyn NY 11222
Jonathan Harris and Sep Kamvar
We Feel Fine is a Web-based almanac of human emotion. Since August 2005, Jonathan Harris and Sep Kamvar have been harvesting human feelings from a large number of Web logs. Every few minutes, the system searches the world’s newly posted blog entries for occurrences of the phrases “I feel” and “I am feeling.” When it finds such a phrase, it records the full sentence and identifies the “feeling” expressed in that sentence (e.g., sad, happy, depressed, etc.). The interface to this data is a self-organizing particle system, where each particle represents a single feeling posted by a single individual. The particles’ properties – color, size, shape, opacity – indicate the nature of the feeling. We Feel Fine paints these pictures in six formal movements entitled Madness, Murmurs, Montage, Mobs, Metrics and Mounds. At its core, We Feel Fine is an artwork authored by everyone. It will grow and change as people grow and change.
Combining elements of computer science, anthropology, visual art and storytelling, Harris designs systems to explore and explain the human world. He studied computer science at Princeton University and was awarded a 2004 Fabrica fellowship. Harris is also the winner of two 2005 Webby Awards.
Kamvar is a consulting professor of computational mathematics at Stanford University. His research focuses on data mining in large-scale networks such as the Web and peer-to-peer and social networks. From 2003 through 2007, he was the engineering lead of personalization at Google, responsible for Personalized Search and iGoogle.
Yael Kanarek looks at how language and numbers operate an emotional landscape by shuffling their physical properties: matter, shape and sound. Employing modes of authorship (storytelling, computer code and multiple languages), Kanarek nurses the philosophical boundaries of the political and spiritual, artistic and scientific, private and universal, horizontal and vertical in her works. Minimalist and formal abstractions of subject matter feature in these works, yet the content is typically emotional and passionate.
Kanarek was included in the 2002 Whitney Biennial. Her work has been shown in The Drawing Center, NYC; Bitforms Gallery, NYC; Nelly Aman, Tel Aviv; National Museum of Contemporary Art, Athens; The Jewish Museum, NYC; The Kitchen, NYC; American Museum of the Moving Image, NYC. She holds an M.F.A. from Rensselaer Polytechnic Institute.
529 West 20th Street, New York, NY 10011
First, the name of God (or the name of the divine figure) in each of the world’s five largest religions is translated into Braille. Later, each name in Braille is engraved upon the cylinder of a music box, so that each music box plays one of the names of God.
Since long ago, people have thought that they believed in something unique when adoring a god or following a certain religion. There is a generalized blindness to the power that flows all over the universe and that is also inside us. We have ignored (or forgotten) that the only things keeping us apart are the names of the gods and the ways of following them. A false spirituality has evolved and created a chronic dissociation within ourselves.
León graduated from the Academy of Superior Art, Cologne, Germany, and has shown most recently at Magna Metz Gallery, NYC. She has also shown at Exit Art, NYC; at the 8th and 10th Havana Biennials; and at the Galerie Dominique Fiat, Paris.
Magnan Metz Gallery
521 West 26th St, New York, NY 10001
Since 1996, Danica Phelps has systematically recorded her life’s intimate details without getting personal. She has documented her pregnancy, time spent walking the dog and time spent in the studio. For this work, Phelps kept track of everything she did and spent money on and used this information as the data from which she made her drawings. The chart is a commemoration of this ten year project which she made with the Lower East Side Printshop.
Phelps then counted every letter in the last list from the last day of this project. This is the list on the right hand side of the chart. The installation of letters was made out of her trash that she had accumulated over a four-month period. There are about one quarter of these letters hanging here. Phelps made her final list in January 2007.
Phelps holds an M.F.A. from the Rhode Island School of Design and has had solo exhibitions at Kathryn Brennan Gallery, Los Angeles, CA; Zach Feuer Gallery, NYC and Kavi Gupta, Chicago. Group exhibitions include Johan Koening, Berlin; the Chicago Cultural Center and the Contemporary Museum of Art, Houston, TX.
Judi Rotenberg Gallery
130 Newbury St, Boston, MA 02116
Through a laborious process of inscription, Alyssa Pheobus creates intricate graphite drawings that confront the relationship between language, narration and the circulation of meaning.
Meticulously penciled onto large swaths of handmade paper, her drawings isolate snippets of text culled from an array of sources – from pop-cultural and literary references to lullabies and Sufi devotional poems. As seen through the aesthetic forms of Good Woman and Harder Harder, each line is reminiscent of painstaking needlework; these incorporated texts simultaneously exude a sense of longing and violence. The juxtaposition of severe lines and enigmatic texts engages with the inherent binary of both power and desire that is historically inscribed within traditional gender roles and notions of domesticity.
Pheobus received her B.A. from Yale in 2004 and an M.F.A. from Columbia in 2008. Her work has been shown widely in the United States, including solo exhibitions at Tracy Williams, Ltd., and Bellwether in NYC, both in 2009. She currently lives and works in Brooklyn, NY.
Tracy Williams Gallery
521 West 23rd St, New York, NY 10011
Mickey Smith explores themes of history, knowledge and place with large-scale photographs of bound volumes of periodicals—giving viewers an entirely new way of looking at a familiar world. Her quest is to document this information in its concrete visual form before it disappears completely into cyberspace. Smith works in series, which she appropriately calls Volume, creating single images, diptychs, triptychs and multi panel installations. For New Language, Smith has expanded her reach with a work entitled Collocation No. 4 (Today), a mural-scaled work comprising 50 images of gray and yellow journals entitled Today and Tomorrow, installed, unframed, in a grid format.
Smith holds a B.A. in photography from Minnesota State University Moorhead, and has shown at INVISIBLE-EXPORTS in NYC; the Alvar Aalto Library, Vyborg, Russia; and the PRO ARTE Institute, Pushkin House, St. Petersburg, Russia. Smith has received the McKnight Artist Fellowship for Photography as well as grants from CEC ArtsLink and the Lower Manhattan Cultural Council. She is represented by INVISIBLE-EXPORTS.
14a Orchard Street, New York, NY 10002T.561.833.0583
Rachel Perry Welty
Rachel Perry Welty builds lyrical sculpture, video and installations out of material we usually discard or delete. In Karaoke Wrong Number, she lip-synchs phone messages mistakenly left by strangers, with perfect timing and facial expressions that effectively animate their misdirected expectations. Her blank stare between messages suggests how technology blindly records volumes of information. Layered with empathy and wit, Welty’s video exposes our often over looked trust in these everyday vehicles of communication and connection.
Welty holds a B.A. from Connecticut College and a Fifth-Year Certificate from the Museum of Fine Arts, Boston. Welty received many awards from the Museum School, Boston, including traveling scholarships in 2001 and 2004. She participated in group shows at The Drawing Center, NYC, and at the Institute of Contemporary Art, Boston, where her video Karaoke Wrong Number has entered the permanent collection. She has had solo shows at Barbara Krakow Gallery, Boston, and Yancey Richardson Gallery, NYC.
Yancey Richardson Gallery
535 W22nd St, New York, NY 10011