PULSE Art Fair’s signature PROJECTS program is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances.
PROJECTS | New York 2016
Erin D. Garcia
Arrangements from Series A #1, 2015
Courtesy of the artist and Uprise Art, New York, NY
Arrangements from Series A #2 is the second large scale piece by Erin D. Garcia. A Los Angeles-based artist and muralist, Garcia creates colorful works generated by repetition, intersection, and overlap using a minimal vocabulary of lines, curves, and dots. Related to Garcia's drawing project "Series A", Arrangements from Series A #2 is a free-floating and structured arrangement with an intuitive, improvisational sensibility. Garcia has previously completed murals for the Standard Hotel and the Ace Hotel, among other public works.
Oil on canvas
96 x 82 in.
Courtesy of the artist and 532 Gallery Thomas Jaeckel, New York, NY
Inspired by the classic Greek mythology and today's youth culture, Armando Marino’s large scale Narcissus is part of a series of his major oil paintings that would reflect his romantic commentary on the growing prevalence around us of taking smartphone "selfies”. Narcissism is alive and well.
Odilon (Elementals), 2015.
Photographs, polystyrene, aluminum, epoxy, Russian postcards, urethane, acrylic frames, lanyards, and the ghost of Redon’s Butterflies
54 x 37 x 17 in
Courtesy of the artist and Front Room Gallery, Brooklyn, NY
This is a re-collection of moments: lived, imagined, and borrowed. Odilon Redon referred to his oeuvre as an “ambiguous realm of the undetermined.” Melissa Pokorny's work also favors undetermined spaces. It is experientially derived, suggesting layered relationships based on memories of place, material affinities, (un) natural phenomena, and the desires of things.
Anna Paola Protasio
Marking Time, 2013
White marble and brass
51 1/8 (diam.) x 31 1/2 in.
Courtesy of the artist and Nohra Haime Gallery, New York, NY
Modeled after a traditional sundial, Marking Time is a paradigmatic sculpture that transforms into a meditative object as it rotates along the surface. The weighted brass spins along the polished marble, emphasizing the unique physical and conceptual nature of the juxtaposed materials – soft marble with eternity, hard brass with the sun. The gradual marks, or scars, become a metaphorical depiction of the marks time leaves on our earth, on our lives, shaping them forever. Originally trained as an architect, Anna Paola Protasio is a Brazilian artist focused on sculpture and installation. She has held solo exhibitions in museums and cultural centers throughout Rio de Janeiro, such as House France Brazil (2008), the National Museum of Fine Arts (2010), and the Cultural Center of the Post Office (2010). In São Paulo, she has exhibited at the Brazilian Museum of Sculpture (2012), and the SESC (Social Service of Commerce of São Paulo) in Bauru, São José do Rio Preto, São José dos Campos and Ribeirão Preto (2007-2009). Protasio has been the recipient of awards such as Winner of the Contemporary Art Salon of Foreign Ministry (2012), and Third Place at the 27th Annual Arts Hall Embu das Artes for installation, video, photography and performance (2010). Born in 1966, Protasio currently lives and works in Rio de Janeiro.
Eulogy For The Dyke Bar, 2015
presented by Mackin Projects
At PULSE New York 2016, Macon Reed will transform the fair’s bar into her Eulogy for the Dyke Bar installation—a fully-immersive installation that revisits the legacy and physical spaces of dyke bars, an increasingly rare component of the contemporary queer cultural landscape. Made of simple materials and seductively saturated colors, Reed's hand-made installation includes a full bar, pool table, jukebox, and wall-to-wall wood paneling. Over the four day fair, the dyke bar will host daily performances by queer and trans artists, DJ happy hours, a trivia night, and a panel discussion with prominent dyke bar owners, artists, and historians. Ariel Speedwagon and Damien Luxe, Switch N' Play, and Last Call: New Orleans Dyke Bar History Project will all be hosting events in the bar in addition to a panel discussion on Sunday—A Critical Eulogy: The Loss and Legacy of Dyke Bars—and a closing eulogy ritual and performance. In addition, prior to PULSE, the legendary dyke bar Henrietta Hudson will host a pre-party and fundraiser for the installation on Sunday, February 28, from 1-5pm. Eulogy For The Dyke Bar acknowledges the mass closing of dyke bars, asking a host of questions: Why are these spaces closing? How do cultural and socio-economic factors, such as assimilation or gentrification, contribute to this phenomenon? Are the same factors impacting spaces for gay men? What role have physical spaces such as dyke bars played in the past and how has that changed over time? How do we learn from these spaces and move forward in creating new spaces that are safe and affirming for all femininespectrum communities while embracing expansive notions of gender and sexuality across generations. Eulogy For The Dyke Bar uses the term "dyke" in its most expansive sense and recognizes that gender and identities are complex and fluid. If you have identified with the term or an experience of feminine-spectrum queerness in the past or present (or perhaps future), and/or feel an affiliation or ally-ship with dyke culture, you are welcome and valued at the dyke bar. SCHEDULE OF DYKE BAR EVENTS: Thursday, March 3 LAST CALL Podcast Broadcast 3pm – 4pm, DJ Happy Hour 6pm – 8pm | Friday, March 4 Rocky and Rhoda Trivia Night 6pm – 8pm | Saturday, March 5 Stashes and Lashes Drag Show & DJ Happy Hour 6pm – 8pm | Sunday, March 6 Eulogy Ritual 3pm – 5pm
Yumi Janairo Roth
Stacked Datsun, 2013-2014
Used shipping pallets inlaid with mother of pearl, converted pick-up truck
14 x 5 x 9.5 ft
Courtesy of the artist and Sienna Patti, Lenox, MA
Pallets are the workhorses of domestic and international shipping, each one typically carrying hundreds of pounds of goods. Always recycled, pallets travel from destination to destination, transporting different loads and always separated fro their point of origin. Using a design language more in keeping with architecture and furniture than with the functionalism of international shipping, Roth’s pallets are ornately carved and inlaid with mother of pearl. Functionalism belies their beauty and ornamentation subverts their use. These objects suggest a number of interpretations, including how we value labor as well as ideas about memory, immigration and displacement. That delicate pearl inlay is hard to see unless you look closely at Roth’s Stacked Datsun. She has piled the wooden pallets to an almost impossible height in the back of homemade trailer, a contraption jerry-rigged from the bed of an old yellow Datsun pickup. How about the ubiquitous wooden pallet, a workhorse item of global trade that most of us never consider? Roth beautifies the pallet. With a master artisan’s delicacy she inlays mother of pearl on the wooden pallet with decorative, floral patterns that resemble Southeast Asian traditional folk art.Stacked Datsun seems to say that somebody is toting precious cargo. It’s easy for us to forget the human labor on the other side of the world that produces so much of the material goods we use every day. Smartly, Yumi Janairo Roth finds a way to make what’s overlooked look beautiful. Yumi Janairo Roth works with everyday objects to make art that disturbs familiar environments. Her reinventions of banal objects have included decorating plastic traffic cones with ruffled crepe paper, inlaying mother-of-pearl patterns from Filipino furniture onto wooden pallets, and floating hundreds of colorful wooden arrows in Cherry Creek. She’s even navigated unfamiliar places with maps drawn by strangers. By re-contextualizing and reformulating in surprising ways, Roth makes work that causes people to reassess what they thought they knew. Place, movement, and exchange are recurring themes throughout her diverse practice. Throughout the America West, pickup trucks are often seen driving highways with precariously balanced used shipping pallets teetering from their beds. Piled nearly 10 feet high, Roth’s discarded shipping pallets and been inlaid with mother of pearl and stacked in a 1960’s converted Datsun pickup truck.
⌘+⌘+⌘+⌘+ (installation detail), 2016
Entering ⌘+ (or Command–Plus Sign) on an Apple keyboard instructs the computer to zoom in: a seductive tool when trying to make sense of a bad quality, low-resolution image. Search online for ‘artificial satellites’ and zoom in, zoom in, zoom in, zoom in - you’ll see their geometry disintegrate into optimum pixilation. As they illuminate our world they also disappear from sight. ‘⌘+⌘+⌘+⌘+’ is an installation that abstracts from its digital sources, physically reconstituting the broken down images into shifting forms that deflect and reflect. Mia Taylor is an interdisciplinary artist with an interest in abstraction, distance and the fallibility of language systems. She has exhibited widely, participating in shows at the Whitechapel Gallery, London and Jerwood Visual Arts, London among many others. She is a member of Five Years, a London-based collaborative artists project and gallery. Mia Taylormiataylor.co.uk
Untitled (interstitial), 2016
Sisal rope, finishing nails, paverpol, light, shadow, gravity
Courtesy of the artist and SVA Galleries, New York, NY
Untitled (interstitial) is a sculpture that creates solid form despite being composed of separate, continuous, linear planes of string and shadow. The form creates a language of shapes, angles, and visual illusions based on the materiality of the ropes suspension and lighting. It blends both taught and slacked line and uses shapes inspired by both the industrial and natural worlds. The piece is strictly formal in nature. There are no hidden meanings between the lines in this form is composed of, but rather the lines themselves are the meaning.
Repurposed vinyl billboard, thread, acrylic and spray paint
134 x 109 in.
Courtesy of the artist and Galleri Urbane Marfa + Dallas, TX
Mappings is a multidimensional object created with sections of vinyl that artist Jason Willaford has hand-cut and stitched together. Reminiscent of a topographical map, Willaford uses the construction as an avenue to chart his place in the world and amongst society. Growing up hunting, the artist spent many dark mornings walking and sitting in the woods in camouflaged clothing, observing the color of the landscape change as the morning hours passed. The camouflaged clothing concealed Willaford's true form and intent as a hunter while his pray relied on its natural surroundings. Through a complex web of vinyl that references camouflage netting, the artist draws a connection to contemporary culture's media-saturated existence in which perceptions of others and our surroundings can be skewed. Using discarded vinyl billboards, Willaford strips the material from its original content, modifying it with spray paint and acrylic to repurpose its intent. Constructed compartmentally, Mappings can be deconstructed and rearranged. Its form can continuously evolve. As often holds true for today's humanity, nothing is as it seems.