Images Courtesy Etienne Frossard
Columbus Property Management is proud to present Welcome to my house, an installation of new works by Hannah Barrett. The show will run from October 4 – 31, 2018, with an opening reception on Thursday, October 4, 6:30 – 8:30pm.
"Welcome to my house! Enter freely and of your own will!" He made no motion of stepping to meet me, but stood like a statue as though his gesture of welcome had fixed him into stone. The instant however that I stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength that made me wince, an effect which was not lessened by the fact that it seemed cold as ice-more like the hand of a dead than a living man."
- Bram Stoker, Dracula
“… in the relentless and meaningless manner one searches for something in a nightmare, coming on doors that won’t open or drawers that won’t shut, struggling over and over against the same meaningless thing, not knowing why the effort seems so desperate, why the sudden sight of a chair with a shawl thrown over it inspires the mind with horror.”
- Anne Rice, Interview With the Vampire
Hannah Barrett lives and works in Brooklyn and Rhinebeck, NY. Barrett received an MFA from Boston University in painting in 1998. She has had solo exhibitions at Regina Rex, Stephan Stoyanov Gallery and The Gibson House Museum among others. Selected group exhibitions include Kate Werble Gallery, Calicoon Fine Arts, The Brucenniel and National Museum of Women in the Arts.
Images Courtesy Etienne Frossard
Columbus Property Management is proud to present Networks, an installation of new works by Nick Irzyk. The show will run from September 6 – 29, 2018, with an opening reception on Thursday, September 6, 6:30 – 8:30pm.
This exhibition will present a large-scale painting along with a grouping of sculptural works that incorporate collaged drawings, printed material, and paint adhered to galvanized plumbing pipes. Networks develops Irzyk’s ongoing engagement with the multiplicity and malleability of ideas and concepts, and uses principles of collage in both the painting and sculptures as a way to quote his previous works into a vocabulary. The surfaces continually slip from one form into another, never becoming fully nameable yet somehow remaining recognizable.
The use of the pipes as material reinforces the designed nature of a network, allowing information to pass via structural application. This inbetweenness functions as a kind of ongoing visual digestion, moving Irzyk’s lexicon of images and symbols through the systems of painting, sculpture, and collage; ultimately dissolving these distinct modes of making into a common pool of constraints and possibilities.
Nick Irzyk lives and works in Brooklyn, NY. He received his MFA from Virginia Commonwealth University in 2014 and his BFA from Massachusetts College of Art in 2012. Solo and two person exhibitions include: Nick Irzyk at Chin Up Bar, Baltimore, MD, Neu with Nicholas Sullivan at No Place Gallery, Columbus, OH, nature is the best techno at Syracuse University, Syracuse, NY, Rough Country with Michelle Segre at 247365, New York, NY and Triple Andrew at 106 Green, Brooklyn, NY. Recent group exhibitions include Essex Flowers w/ Catbox Contemporary, New York, NY, St. Charles Projects, Baltimore, MD, Underdonk, Brooklyn, NY, and Motel, Brooklyn, NY. He runs Step Sister Gallery in New York, NY.
Images Courtesy Etienne Frossard
CPM is pleased to announce Producing Domesticity, an exhibition by the collective identity art employer, Lucie Fontaine. The show will run from June 17 – July 29, 2018, with an opening from 12-6pm on Sunday, June 17.
This will be the seventh iteration of an ongoing Lucie Fontaine series addressing the relation between private space and art. Following Estate, at Marianne Boesky in 2012, this will be the second chapter of Domesticity in New York. Other chapters were shown in Bali, Stockholm, Prague and Miami.
This time, Lucie Fontaine will confront the space of a studio apartment in Chinatown, and the dynamics of making a space feel personal and warm, echoing the before-and-after renovations presented in interior decoration magazines. The challenge of the new occupants is finding a compromise between the pre-existing identity of the space and their own. The setting of the basic domestic space will be transformed into a fictional living room that mimics the veneer of a classic American interior.
During the course of the installation of the show on Sunday, June 17, two employees of Lucie Fontaine* will create an elegant living room environment, adopting the techniques and timing of a movie set construction. The installation process will be be open to the public, placing under the spotlight the production and labor that usually remain behind the scenes.
Hanging on the walls of the remodeled living room, in lieu of the classic family pictures, there will be three portraits of workers involved in the movie set construction industry that were taken by Lucie Fontaine during one of her residencies in Los Angeles. Sections of the living room set including the portraits will be detached from the wall and will survive as original Lucie Fontaine’s artworks once the installation is dismantled.
This exhibition marks the first project of Lucie Fontaine Production, a new satellite of Lucie Fontaine based in Los Angeles, that focuses on the relationship between interior design, art and story-telling.
For further information, please contact Lucie Fontaine’s employees at firstname.lastname@example.org
* “L’Anti-Oedipe was written by the two of us, and since each of us was several, we were already quite a crowd.” Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, 1. Introduction: Rhizome.
Text about "FLAMINGO" by: Hannah Walsh
There is a point in late childhood or early teens when you start to become aware that things are made for your consumption. And there are many points in adulthood when you come across some character from your childhood that seems suddenly bizarre or creepy or absurd. How is it that you were ever entertained by a crude animatronic rat fronting a kitschy rock band? Why didn’t it seem questionable that Smurfette was the only girl in town?
The objects in this show feel like these Trojan horses of children’s entertainment. The shell of a smiling manatee sneaks in with rounded, lipped holes at every orifice and then some, with a mouth like a camel or a camel toe, and with a nose and a grin like a drunk.
All of the objects in the show seem to invite performance, or in less adult terms, they want to be played with. A small enough body could fit under the manatee entirely and might poke all kinds of things out of those holes. The tall black creature could get squeezed like a bagpipe or get rocked across the floor, clicking along on its plunger handle legs, a closed form except for a little bulbous butthole, practically begging for a finger. The round shell is hung up by a string, plucked from the back of an unknown animal and stored between unknown uses, ready to be a vessel, or a hat, or a belly. The fact that the show is in a tiny, empty Chinatown apartment, through many locked doors, a courtyard, and an illegally narrow hall make it seem all that much more possible that these objects have a life of their own and that by entering you’ve suspended the animation.
This is a show that feels like a rambling late-night story improvised as much for the child as for the drunk adults.
This is a show made by the youngest brother in a big family of rowdy brothers.
This is a show made by a new father.
Images Courtesy Etienne Frossard
CPM is proud to present Flamingo, an exhibition of new sculptures and video by Andrew Brehm. This is Andrew’s first solo exhibition in New York. The show will run from May 17 – June 15, 2018, with an opening reception on Thursday, May 17, 6:30 – 8:30pm.
The works in this exhibition were made over the last two years, during a time when Andrew Brehm became a new father. A giraffe and a manatee sit together in a room. They are made from recycled paper, mashed into pulp, and molded into puffy, hollow forms. These characters seem zapped into being, as if from a blurry childhood memory. An image of happy faces and full bodies, comfortable and content.
ANDREW BREHM (b. 1983, Harrisburg, PA) lives and works in New York City. He received his MFA in Sculpture from Virginia Commonwealth University in 2011, and his BFA in Studio Furniture from Kutztown University of Pennsylvania in 2006.
Mike Linskie - the Estate of Robert J. Lang
CPM is proud to present Mike Linskie - the Estate of Robert J. Lang. This exhibition will run from March 29 – April 10, with an opening reception on Thursday, March 29, 6:30 – 8:30pm.
In 2015, Mike Linskie purchased a stack of over 300 drawings by a man named Robert J. Lang at a flea market next to an RV park in Jacksonville,Florida. Over the next several years, this collection of drawings and the real and imagined biography of Robert J. Lang began to intermingle with his own life and work. This exhibition presents Mike Linskie’s and Robert J. Lang’s drawings together—reflecting and informing each other.
I’m a very sick person
It is likely that Robert J. Lang’s drawings were made while spending months or years in a Florida hospital bed around the year 2004. Though it is unclear what kept him in the hospital for so long, Lang wrote notes on the back of the drawings that provide some insight into his life and circumstance:
- He was a veteran
- He had a family and friends: Mrs. Lang, John Lang, George, Luize’s son, Brian, Patterson, Karry (owner of truck), Sherrie, Kathy
- There are dozens of 1-800 numbers and notes for doctors and lawyers
- He may have suffered from lung cancer, specifically Mesothelioma
- May have needed false teeth
Lang’s obsessive drawings may have been a way to cope with pain or the prospect of death. Each millimeter of paper is densely covered with marker, pen, and glitter gel pens—manic patterns, and psychedelic swirling motifs. But they are more than just a way to pass time—each drawing is also signed and claimed as a finished work. The massive quantity of these finished drawings and the psychological weight of the context in which they were made begins to illuminate Lang’s mental state.
There is something hiding in plain site in both Mike Linskie’s and Robert J. Lang’s works. The fissure between how the drawings look and what they represent opens into a vast loneliness. The drawings are colorful, flamboyant, crafty, friendly, idiosyncratic—they are heavy.
Mike Linskie (Born 1987, New Jersey) lives and works in Queens, New York. He received his MFA from Virginia Commonwealth University (2014) and a BA from Temple University (2010). Collecting is a major part of Linskie’s practice—he has collections of Celebrity autographs inscribed “To Mike,” finger obstruction photographs, Mexican Spider-Man marionettes, Carnival chalk, frog postcards, and quilts.
Images Courtesy Etienne Frossard
Dän Flävin, Inuit Snow Goggles
Opening: Thursday, February 22, 6:30 – 8:30 pm
The power to rule over forces of nature has been ascribed to superhuman beings and mythological Gods throughout recorded and likely pre-recorded history. From Zeus to Magneto, the ability to wield control over light, fire, water, etc has been revered. As time moves forward, technology gives us more and more discretionary control over the elements, from the light switch to the Large Hadron Collider.
Dan Flavin’s artistic career focused primarily on light as both a condition and a source. The works for which he is most famous are composed of industrial fluorescent lights that have been repurposed as ready-mades, dissecting, segmenting, and deconstructing interior spaces in both an anti-material and hyper particular way. Dan Flavin is a myth like figure that came out of the world of minimal art—austere and enigmatic. Flavin’s light works raise the senses of the body in space. While Flavin asserted that his light works did not have a spiritual component, it is perhaps also unsurprising that he studied for the Priesthood in his youth and trained as an air weather meteorological technician during his military service in 1954-55.
The first Inuit snow goggles were used on the west coast of Alaska from around 2,000 years ago to as recently as the early 20th Century. They were carved out of bone, ivory, or wood, with one or two narrow slits for the eyes. Snow goggles were used by Inuit hunters to protect from “snow blindness”, a condition in which ultraviolet light that bounces off of the ice and snow, burns the retina and causes temporary blindness for up to several days. This condition can equal death when hunting or traveling in the arctic in below freezing temperatures.
Snow goggles as a tool, express the ingenuity of the Inuit people to control and channel light. These objects not only protected the eyes from strong light but also improved visual acuity, focusing the field of vision to allow the wearer to see clearly at further distances, in a sense giving superhuman vision. Western explorers of the arctic quickly realized that unlike sunglasses, snow goggles did not mist or ice over in the polar climate, making them the perfect headgear for the extreme conditions.
Relics from distant regions and cultures of the world have been displayed in the West for centuries. They touch upon our fascination with the mysteries of nature and the unknowns of our potential futures. This exhibition aims to present and complicate notions of authenticity, ownership, and value by considering the aesthetic qualities of art and non-art, real and fake objects, presented in the same place at the same time.