On view through November 18, 2018:
Zac Hacmon’s first solo exhibition in the courtyard, Afterlife. Hacmon uses architecture as a mediator and is interested in notions of the non-place: spaces without history or identity.
The installation consists of three devices concealed by 4×4 inch white industrial tiles. Two of these forms are sealed with transparent glass and tilt towards the ground at a steep angle. The third sculpture, called Program 1, is equipped with 16 grab bars suggesting safety and security. Hacmon’s work does not harbor the efficiency usually found in architecture and object design. Instead, focusing on techniques and elements from both the old and the modern, he tries to create the “super-modern”, changing agreed upon ideas of necessity, functionality, and memory.
Hacmon’s forms react to the architectural surroundings of the courtyard. He works off of the urban grid and contrasts the setting with clean institutional shapes that challenge our understanding of form and sculpture. Adding to this disassociation Hacmon introduces translucent layers of color that give a false sense of depth and the notion of another dimension within the form. Making use of the primary colors Hacmon harps back at the core of form and function and re-interprets its perceived solidity.
On view through December 21, 2018:
Limits, an exhibition of large-scale sculptures and installation by Rachel Mica Weiss. In Limits, the New York-based artist’s second solo exhibition with the gallery, Weiss draws inspiration from her education in psychology and her early training in weaving to explore the confluence among structures that house the body, ranging from the geological to the architectural, from textile structures to our formless psychological constructs.
In an achromatic exhibition of process-driven, figurally-scaled sculptures, each representing or depicting a limit, Weiss pushes the limits of her materials —cast concrete, marble, and obsidian. Limits carries forward the artist’s series of Folds —cast concrete slabs scaled to the artist’s body, which bend like fabric and lean like human forms against the gallery walls. Obsidian boulders weighing down each marbleized Fold seem to defy gravity or teeter uneasily, heightening the exhibition’s sense of tenuousness and adding another perceptual twist to viewers’ experience. In a new series of wall-based sculptures, Weiss has shaped marble back into topographical forms, bounding each in a cast concrete frame that also reads as marble. Mixing real with simulacra throughout the exhibition, the artist often makes it difficult to determine which is which.
Limits highlights Weiss’ interest in, and facility, with material transformation, a tool she uses to question viewers’ assumptions and expectations about material integrity: cast concrete reads as marble; rigid objects undulate; heft defies gravity. By mining and conflating the material and visual languages of textiles and architecture to accomplish this perceptual confusion, Weiss both gives form to the boundaries that define us and articulates aspects of the human condition. Her works pull the histories of architecture, figural marble sculpture, and landscape painting into a contemporary light. Her use of scale, physical presence, and weight allows viewers to relate to each sculptural “body,” to become self-aware and space-aware. Like the undulating folds of cast concrete masquerading as carved marble, her vision of the walls humans build for themselves is one in which perceived limitations can be undermined and passage is possible.