June 19 - July 31, 2013
Artists have always been challenged by creating works on a very large surface, be they ceiling paintings, murals, graffiti, or projections of video or film. The artists in this show (Lydia Dona, James T. Greco, Richard Humann, Nicola L, Gerard Mossé,and Osmo Rauhala) have each created a large new work, or contributed one from an earlier series.
Bigger is not necessarily better, but in this case the viewer can be the judge, interpreting and enjoying the impressive over-sized work in this show titled XXL.
The Art Market MA program at FIT is pleased to present Don't Feed the Animals, a group show featuring works by contemporary artists who transgress social norms to reveal the ways people respond to actions performed out of context. Working in a variety of mediums, the artists shock, amuse and satirize social behaviors by setting up absurd or outlandish situations to provoke viewers into questioning personal standards and the accepted rules of society.
In videos and stills of performances, several of the artists in Don't Feed the Animals make themselves intimately available to strangers: Nate Hill – dressed in a dolphin mascot costume – offers to let subway riders bounce on his lap, while Sean Fader invites people to make a wish by stroking his chest hair. Antonia Wright and Ruben Millares engage in a prolonged public kissing session while riding up and down a busy escalator, and Yolanda Dominguez criticizes the farcicality of the fashion industry in her videos, which show everyday women, who strike model poses in crowded public spaces that make themlook rather absurd and cause concern from people walking by.
Don't Feed the Animals is organized by FIT Art Market students, Class of 2013, School of Graduate Studies. In their second year, students take a two-semester practicum in which they organize, curate, and promote a group exhibition. They graduate from the program with the knowledge, skills, and experience needed for professional careers in the art market. The 2013 curators are Lisbet Krogslund Bertelsen, Rose Frisenda, Elizabeth Landau, Vivian Lee, Anna Matos, Kathleen Mulvey, Marcela Nascimento, and Kara Romano.
A fully illustrated catalogue will accompany the show. For further information, please contact Fitartmarket@gmail.com.
Wang paints young girls in alluring stylized poses in fashionable clothing that in their pouting manner totally win our hearts. They invite us through their sexy demeanor and colorful attire to share their constructed spectacle. They are a cross between fashion models and Barbie dolls with porcelain skin. Their huge eyes, reminiscent of 1960s Keane figures, are heavily made up with long eyelashes, plucked eyebrows, and pouting lips in red lipstick. It can be said that Wang is stereotyping the fashionable consumerist modern female, but in reality he's engaging in tongue and cheek humor. Girl #5, #6, 7 and 11 are dressed in military uniform perhaps as an excuse to juxtapose the soft femininity of their painted faces against the rough army garb. Or, perhaps as a way of punning military dress that has become appropriated by the fashion industry today. Perhaps even to compare the sameness of this fashion icon repeated over and over in different costumes, with that of troops. But, though her morphology is similar, her moods, makeup and dress change to produce lively sexy females aware of their own power. These girls are not afraid and they're not objectified females because they're not vulnerable. They invite and warn us at the same time as seen in Girl #4 who holds a gun in her left hand while a parrot sits on her right arm. Girl #6 wears a red army hat and carries a pink backpack while smoking a cigarette. She turns away from us protecting her nude right breast with her left hand, all while she looks behind her. This is not an innocent little girl but rather a dangerous siren that Wang depicts. The devil wears Prada in Girl #9 who is highly made up, with bleached white hair and, except for a pearl drop earring and a purple pocketbook that conceal her body, is nude. This is not a vulnerable creature available to the male gaze but rather one who warns us through her demeanor-- crossed arms over the chest and head turned to stare at the viewer.
Wang's fashionable females are reminiscent of the 8th Century Chinese master Zhou Fang's many depictions of women as models of ideal feminine deportment as seen in his scroll Ladies Wearing Flowers in their Hair. Indeed it was very common during the Tang Period to create ideal female models in art because real women were forbidden to appear in public. A similar situation took place in ancient Classical Greece. Rather than paint individual personalities artists painted, women's roles. And as seen in both Fang's, and Wang's paintings, women have been rendered with meticulous detail in their wardrobe and make-up. The ancient models of deportment have now become fashionable femme-fatales.
Curated by Elga Wimmer: