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home about writing Education Publications submissions contact Sam Anderson, Talley’sTalley’s Folly, mother’s tankstation, 8 April–23 May 2015 Sam Anderson, Folley, mother’s tankstation, 8 April - 23 May 2015 06.08.2015 (11:02 am) – Filed under: Reviews :: Two small boats carved from blocks of wood rest on a bed of flour and chalk like vessels run aground on a terrain of icy snow or sun-bleached sand. Three fly-like creatures splay their waferish wings. Two snooker cues, snapped and retaped to bend in the middle, rest on a ledge like spindly legs frozen mid-sway. There are several small painted wooden balls; they could be planets marooned from the cosmos. And three little clay donkeys carry passengers coming from and going where? These are some of the peculiar sights to be encountered at Sam Anderson’s first solo exhibition, Talley’s Folly, at mother’s tankstation, an intriguing exhibition of small sculptures and assemblages, crafted and cobbled together from a variety of found and familiar materials including wood and clay but also table salt, hay, blood orange juice, and black pepper, employed in unusual ways and resulting in strange formations that lure the viewer into a series of curious little worlds. Sam Anderson To the Omega 2015 Clay, wood, animated projection (10.59 minutes) Courtesy of the artist and mother’s tankstation The darkened entryway to the gallery is occupied by a small clay sculpture of a figure on a donkey, To The Omega (all works 2015), its four tiny legs planted on the red tiled floor. The figure astride it, body twisted towards us, clutches its reigns, and stares in our direction, brow furrowed. An animated projection of white light, alternating between a dot, a crescent and a round disc, dances around the sculpture on a ten minute, fifty-nine second loop. The play of light resembles a time-lapse video of the moon variously illuminating these two little characters, giving the sculpture the quality of a still from an animated epic: two journeymen navigating their way through a dark landscape under the glow of a nighttime sky. In the main gallery space stand two more of these donkey-figure clay sculptures, Paper Visual Art Journal, August 2013 differently poised but similar, as if at different points in a story begun by the first one. The clay sculptures are each un-painted. They are uneven and patchy and so still evidence the particular malleable character of this distinct material: hardened but figure on a donkey, To The Omega (all works 2015), its four tiny legs planted on the red tiled floor. The figure astride it, body twisted towards us, clutches its reigns, and stares in our direction, brow furrowed. An animated projection of white light, alternating between a dot, a crescent and a round disc, dances around the sculpture on a ten minute, fifty-nine second loop. The play of light resembles a time-lapse video of the moon variously illuminating these two little characters, giving the sculpture the quality of a still from an animated epic: two journeymen navigating their way through a dark landscape under the glow of a nighttime sky. In the main gallery space stand two more of these donkey-figure clay sculptures, differently poised but similar, as if at different points in a story begun by the first one. The clay sculptures are each un-painted. They are uneven and patchy and so still evidence the particular malleable character of this distinct material: hardened but retaining a sense of the material’s original soft pliability, the imprints of handling still visible in its moulded, dried form. They are like prototypes for a claymation film, each emanating a sense of provisionality, a readiness to be animated. There are also a number of four-legged wooden constructions, painted white, and orderly spaced in the gallery. A raised border runs the perimeter of each. Two snooker cues leaning against one of the constructions gives it the look of a miniature billiard table. But these are more than tables. In their blanched state, and populated as they are by a variety of assemblages and small sculptures – some of identifiable forms, some not – they take on the appearance of makeshift stages. Sam Anderson Talley’s Folly 2015 Installation view Courtesy of the artist and mother’s tankstation In the corner, on one of these stages stands a donkey-figure sculpture, Talley, raised from the floor. On the others a variety of scenes are placed. In Eva, for example, beneath the hue cast by a hanging red light bulb, wires containing little metal balls – suspended by unseen magnets – curve around two rudimentary wooden shapes, figurative in their combination. The scene suggests a game is being played. Elsewhere upon these structures sit the grounded boats (Boats), the wafer-winged creatures (in Liz) and the painted planet-like spheres. In Rows, for example, one such sphere sits near a grid of bored holes out of which poke blades of hay. They are surrounded by scatterings of fine black pepper that seem like the dislodged soil of an arid, perhaps alien, landscape. The use of these four-legged stages unites each unusual arrangement within a common space implying a sense of purpose in their being-there-together. The gallery becomes like a terrain of small habitats populated by small creatures or characters (bolstered by the titling of some works with recognizable female names). More like makeshift dioramas than static compositions, the arranged objects resemble sets waiting to be activated, scenes paused, snapshots of stories. They are imbued, like the donkey-figures, with a compelling sense of narrative, albeit partial and obscure. from the floor. On the others a variety of scenes are placed. In Eva, for example, beneath the hue cast by a hanging red light bulb, wires containing little metal balls – suspended by unseen magnets – curve around two rudimentary wooden shapes, figurative in their combination. The scene suggests a game is being played. Elsewhere upon these structures sit the grounded boats (Boats), the wafer-winged creatures (in Liz) and the painted planet-like spheres. In Rows, for example, one such sphere sits near a grid of bored holes out of which poke blades of hay. They are surrounded by scatterings of fine black pepper that seem like the dislodged soil of an arid, perhaps alien, landscape. The use of these four-legged stages unites each unusual arrangement within a common space implying a sense of purpose in their being-there-together. The gallery becomes like a terrain of small habitats populated by small creatures or characters (bolstered by the titling of some works with recognizable female names). More like makeshift dioramas than static compositions, the arranged objects resemble sets waiting to be activated, scenes paused, snapshots of stories. They are imbued, like the donkey-figures, with a compelling sense of narrative, albeit partial and obscure. Furthermore, their small stature courts the viewer to crouch down and inspect, to engage in different ways of looking. This working in small scale is one of the defining aspects of Anderson’s practice. Her exhibitions can seem like the detritus of a precociously crafty child or an enthusiastic but perverse model-maker. Yet her proclivity for miniature seems guided more by a desire to realise its potential for storytelling than by some eccentric penchant for the diminutive. In The Poetics of Space, French philosopher Gaston Bachelard explores the unique imaginative power of miniature in poetry and fables. For him, its ‘liberation from all obligations of dimensions’ allows entry into the domain of the fantastic; it ‘causes men to dream’. [1] With her little three-dimensional material vignettes Anderson achieves just such an end, creating portals into imaginary miniature worlds. Sam Anderson Sally 2015 Clay, wood Courtesy of the artist and mother’s tankstation The influence of fables and fantasy percolates a show that is clearly indebted to various modes of storytelling. The exhibition’s title is borrowed from that of a 1979 one-act play by American playwright Landford Wilson about the pursuit of a lady named Sally Talley by her future husband, Matt. One of the clay sculptures is called Talley, another Sally. There is no donkey in Wilson’s tale but the accompanying text refers to Dapple, the donkey of Miguel de Cervantes’s Don Quixote, offering potential contextualization from another preexisting literary source. The characters of other stories are woven into the exhibition but are cast in new circumstances. The artist acknowledges this in her accompanying text: ‘The details are there but the story is changed, or maybe useless.’ [2] There are threads, but we must find our own way to tie them together. The influence of fables and fantasy percolates a show that is clearly indebted to various modes of storytelling. The exhibition’s title is borrowed from that of a 1979 one-act play by American playwright Landford Wilson about the pursuit of a lady named Sally Talley by her future husband, Matt. One of the clay sculptures is called Talley, another Sally. There is no donkey in Wilson’s tale but the accompanying text refers to Dapple, the donkey of Miguel de Cervantes’s Don Quixote, offering potential contextualization from another preexisting literary source. The characters of other stories are woven into the exhibition but are cast in new circumstances. The artist acknowledges this in her accompanying text: ‘The details are there but the story is changed, or maybe useless.’ [2] There are threads, but we must find our own way to tie them together. The words of the great storyteller Italo Calvino seem germane here: ‘The moment an object appears in a narrative, it is charged with a special force and becomes like the pole of a magnetic field, a knot in the network of invisible relationships … We might even say that in a narrative any object is always magic.’ [3] In Talley’s Folly, it is the reverse, as narrative appears in objects, both becoming as a consequence mutually charged. It is the nature of this relationship, between objects and narrative, how one feeds into the other, the allure that emerges from their entanglement, that Anderson harnesses in her work. But she makes the objects strange and the narrative partial and unclear. It is the attempt to make some sense out of all this, to unravel the knots and elucidate the relationships at play that makes viewing Talley’s Folly such a captivating encounter. Sara O’Brien is a writer based in Dublin. [1] Gaston Bachelard, The Poetics of Space (Boston, MA: Beacon Press, 1994), 152–54. [2] Accompanying exhibition press text: Sam Anderson, Talley’s Folly, mother’s tankstation, 2015. [3] Italo Calvino, Six Memos for the Next Millenium (Cambridge, MA: Harvard University Press, 1988), 33. Comments OffTags: animation, clay, Landford Wilson, Mother's Tankstation, Sam Anderson, Sara O'Brien, sculpture, Talley's Folly Comments are closed. December 2015 MT WT F S S 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 « Aug Categories Essays / Articles Q&A Reviews Uncategorized CHAPTER NY 127 Henry Street, New York, NY 10002 www.chapter-ny.com The Observer, December 2013 gingerly amid minuscule clay flowers, two stacks of miniature Wall Street Journals tied with twine atop one dowel and, on the ground, three adorable little barrels paired with two carob seeds and a cherry stem slid through a minute metal string, alluding to settings as diverse as prehistoric times, the present day and the Wild West. At the center of the grid is the meatiest work, just about 9 inches tall: a frog skeleton struggling to climb a rock like it’s fighting for its life. Eastern Expansion: Lehm Maupin Heads to Hong Ko Ms. Anderson’s recent, only-slightly-larger show at the Bed-Stuy Love Affair project ‘Drum,’ 2013. (Courtesy the artist and Chapter NY) space, her current one-work solo outing at SculptureCenter and now this exhibition position her as one of today’s most interesting young artists. (Through Dec. 22) Follow Andrew Russeth on Twitter or via RSS. [email protected] topics: Chapter NY, On View, Sam Anderson You May Like Sponsored Content by Taboola What the Bible Says About Money (Shocking) Invests.com Moneynews Worthless Exercises You Probably Do How To Treat Psoriasis WebMD ThePostGame 127 Henry Street, New York, NY 10002 www.chapter-ny.com The Fishtail Braid in 5 8 Most Useless Easy Steps. Check it out. Workouts Ever No Way These Celebrities Are 60-Plus! SearsStyle AARP WorkoutPlan Stunning Photos Of Jessica Simpson's 8 Million Dollar Mansion LonnyMag From the Web 11 Things to Do in New Y World Before December 1 ‘Masterpieces of Dutch Pa From the Mauritshuis’ the Each little assemblage seems to hint at a vignette as short as one or two sentences that could be fused with other pieces to produce an almost infinite number of longer, surreal narratives. Charles LeDray’s carefully modeled bite-size sculptures are clearly reference points, but Ms. Anderson seems to work small less for reasons of fetishistic craft than for its storytelling potential. The Next Big Stock? Rumor has it this stock might explode… ‘Sam Anderson: Flowers a Money’ at Chapter NY From Gallerist Promoted Content by Taboola The Next Big Stock? Rumor has it this stock Here Are 10 Works of Art That May Get You might explode… (Invests.com) Thrown Off Facebook What the Bible Says About Money (Shocking) Not Just for Snowbirds: Forget the Beach— (Moneynews) Miami’s Hometown Museum Is Heating Up A Tour of Art Basel Miami Beach 2013 BETABEAT POLITICKER GALLERIST COMMERCIAL VSL POLITICKERNJ CHAPTER NY GALLERIST NY THE YEAR OBSERVED The Year in, and Beyond, the Galleries BY ANDREW RUSSETH Like 366 12/18/13 1:40PM Tweet 28 Share submit Email Installation view of T. J. Wilcox, ‘In the Air,’ 2013. (Photo by Bill Orcutt/Whitney Museum) It’s been brutal trying to whittle down a “best of” list for 2013, but the top slot? That’s easy: the New York art world’s recovery after Hurricane Sandy. It’s astounding to think back to October 2012, when galleries were flooded and art was destroyed, when artists and art handlers, dealers and interns could be found without electricity, carrying soggy works from basements, tearing out drywalls and trying to figure out what to do next. The entire foundation of the art world felt threatened. But galleries dug out. They raised money to help dealers who had suffered losses, CONNECT WITH US Sign up for our New Send an anonymou RECOMMENDE and by January most of the affected ones were up and running again. That experience colored the year for me, as I suspect it did for others. I can’t prove empirically that the art world got any nicer, but it felt like a sense of camaraderie grew out of it. It made an already strong year in art feel just a little bit stronger. It definitely made the jam-packed summer show that Ryan Foerster hosted at his Brighton Beach home all the more poignant and inspiring. The storm had rendered his bungalow uninhabitable, and he was still working on repairs when he opened the show, stocked with work by exciting young artists like Zak Kitnick, Rose Marcus, Win McCarthy, Jory Rabinovitz, http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/ 127 Henry Street, New York, NY 10002 www.chapter-ny.com The Observer, December 2013 88 Year Old Yoga Teacher Shares Her Secret To Never Endi Health 1st CHAPTER NY 3/3/2014 The Year in, and Beyond, the Galleries | Gallerist Rochelle Goldberg and Joshua Abelow. It may have been the liveliest group show of the year, spreading out into his yard, onto the roof and into his bathroom. A fierce competitor for that title is “Draw The Most Memora Gallery Shows of 2 Gym,” the blowout drawing exhibition that artist Brian Belott organized at the ascendant 247365 and Know More Games galleries in Brooklyn’s Donut District, filling their walls with scores of black-and-white drawings by as many artists, with scores more drawings A bench sculpture by Kitnick and McCarthy in Foerster’s show. (Photos by The New York Observer unless Popular on otherwise noted) Morning Links: Tr spilling onto the ground. Two other contenders: Bob Nickas’ summer extravaganza in Jose Martos’ North Fork home and Greene Naftali’s bracing “Freak Out.” On the solo-show front, the new work I’m still thinking about, and longing to see again soon, include Keith Mayerson’s heartbreakingly ‘Draw Gym.’ (Courtesy 247365 and Know More Games) masterful paintings—abstractions, family portraits, that Obama family stunner—at Derek Eller; Jamian Juliano-Villani’s explosive, jawdroppingly controlled airbrushed numbers from her debut, at Rawson Projects; Michael Williams’ gutsy paintings at Canada, in which he pairs digital prints and airbrush marks to make art that looks startlingly new; everything Bjarne Melgaard did around town, but especially his necr ophiliac outing with William N. Copley at Venus Over Manhattan; Mathieu Malouf’s gothic-tinged paintings and chic, creepy BDSM lair at Real Fine Arts (not to mention his luxurious paintings at their Installation view of ‘Ajay Kurian: Proleptic’ at 47 Canal. (Courtesy 47 Canal) Miami Basel booth); Amy Yao’s charming show of six beautifully accented ladders at 47 Canal; Ajay Kurian’s meaty sculptures, also at 47 Canal, which take still-developing sculptural modes into deliciously rococo territory (you still have a few days to catch that one); Ben MorganCleveland’s sly, haunting, frankly disgusting floor works at Eli Ping Gallery, which he made by leaving affixing sheets of burlap to cobblestone and letting passing trucks do the work overnight; Yashua Klos’ haunting, fragile paper constructions at Tilton Gallery; Amanda Friedman’s deliriously weird paintings, which climbed Spare Room Projects’/Jackie Klempay’s walls and backyard tree in Bushwick; Alice Mackler’s wildly entertaining ceramics at Kerry Schuss; JTT’s succinct and long-overdue Diane Simpson sampling; Artists Space’s long-overdue and impossibly fresh survey of Zilia Sánchez; everything by Sam Anderson, whose small, mysterious sculptures, strewn with animal skeletons and little props, pack serious punches; and the delectable No-Neck Blues Band ephemera show at Audio Visual Arts. Galleries also delivered the goods when it came to work by artists who are no longer with us. At Zwirner, Robert Storr’s Ad Reinhardt show, which included 13 of his black paintings, witty cartoons and travel photographs, was the revelation of the year, neck and neck with John Elderfield’s late Willem de Kooning stunner at Gagosian. (There ar e a few days left on both of those also.) Meanwhile, Davis & Installation still of Bender, ‘Total Recall,’ 1987, at The Langdale made a worthy case for an Albert http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/ 127 Henry Street, New York, NY 10002 www.chapter-ny.com The 50 Most Powe Art World Vito Acconci: ‘The Have to Be Marina Here’s the 2013 Ar 11 Things to Do in March 3 3/3/2014 CHAPTER NY Kitchen. (Courtesy the Kitchen) The Year in, and Beyond, the Galleries | Gallerist York museum exhibition, and the Kitchen a strong argument for a much larger Gretchen Bender show. (We’ll get more at next year’s Whitney Biennial.) And the embattled American Folk Art Museum deserves praise—and, if you’ve got the cash or art, donations—for bringing us not one but two choice Bill Traylor shows. Much of the most memorable art lasted for only a few hours, or a night or two. There were Ei Arakawa’s performances with friends early in the year at the Guggenheim and the Museum of Modern Art that burned with his inimitable ludic wit. (Another reason to get pumped for next year’s Biennial: He’ll colab with Carissa Rodriguez, who offered up one of the year’s most terrifyingly sharp shows, at Front Desk Apparatus.) Ei Arakawa at the Guggenheim. (Photo by Paula Court/Guggenheim) In June, Los Angeles-based artist Dawn Kasper staged an hour-long performance in the living room of a Tribeca condominium once used by Dominique Strauss-Kahn that progressed from funny to exasperating to weirdly pleasurable as she bumbled through a lecture and demonstration before a baffled audience that had been corralled by dealer David Lewis. Late July brought Park McArthur’s head-scratching residency at Performance still of Kasper. Essex Street, which had her hanging clothes outside the shuttered space for two weeks in midsummer, a quiet, oblique show about homelessness, space and place that never closed. “Under the BQE” arrived in September, a scrappy show organized by artists Marie Karlberg and Lena Henke for one evening under, yes, the Brooklyn-Queens Expressway, which had young guns like Sam Pulitzer, Nicolas Ceccaldi and the curators themselves offering up major new works. (Ms. Karlberg and Ms. Henke are hosting a nail-art salon this evening, Wed., Dec. 18.) On the tonier end of the spectrum, Dominique Lévy Gallery staged Yves Klein’s gorgeous Pulitzer in ‘Under the BQE.’ (Courtesy ML Artspace) “Monotone-Silence” Symphony with a full choir and orchestra at Madison Avenue Presbyterian Church. And did you catch David Diao’s epic, stemwinding lecture on Barnett Newman at Dia? I missed it but got the audio from Dia. It’s amazing, as was his painting show at Postmasters. (Still another reason to be excited about the Whitney Biennial.) The worst art of the year? The less said about that the better, but the glut of bland, meaningless abstract painting currently dominating Lower East Side galleries is a Diao, ‘Double Rejection 2 (MoMA Boardroom),’ 2012. (Courtesy the artist and Postmasters) trend that would be nice to stop now. My least favorite shows of the year: Nate Lowman at http://galleristny.com/2013/12/the-year-in-and-beyond-the-galleries/ 127 Henry Street, New York, NY 10002 www.chapter-ny.com CHAPTER NY 3/3/2014 The Year in, and Beyond, the Galleries | Gallerist the Brant Foundation, Angel Otero at Lehmann Maupin and Josephine Meckseper at Andrea Rosen. But let’s end on a positive note, with what were, for me, the year’s highlights (setting aside MoMA PS1’s Mike Kelley retrospective, which is in a once-in-a-generation class of its own): 3. The classical music concert that Rainer Ganahl organized early in January (with support from White Columns) at the soon-toclose El Mundo department store in East Harlem, a grand, dilapidated space built as a soaring theater in the 1920s, with professional and student musicians (including artist Ken Okiishi) playing violin and piano, and singing. It was freezing outside, but it was brilliantly warm and deeply melancholic within, amid stacks of clothes and a rapt audience, amid the brutal upheaval that New York Ganahl’s concert at El Mundo. (Courtesy the artist) continuously inflicts. 2. Danh Vo’s Hugo Boss Prize show at the Guggenheim, for which he presented thousands of trinkets, knickknacks and bric-à-brac (and a few little paintings) from the collection of the late Lower East Side painter Martin Wong (who was himself the subject of P.P.O.W.’s great-looking booth at the ADAA Art Show in March). It was a touching portrait of an artist we lost too soon and a treatise on the meanings that objects generate and the reasons we collect them, whether in our homes or just our heads—a virtuosic piece of art. 1. And finally T. J. Wilcox’s “In the Air” panoramic video installation at the Whitney. Shot through the windows of his Union Square penthouse studio, it shows 24 hours of New York’s skyline in the span of about 30 minutes and is interspersed with other short videos: an improbably hilarious vignette about Warhol and the Pope, a sizzlingly entertaining one about Gloria Vanderbilt and one about Sept. 11 that brought me to the verge of tears. (I Still from Wilcox’s ‘In the Air,’ 2013. (Courtesy the artist, Metro Pictures and the Whitney) know I’m not alone on that.) It ranks as one of the most important, most moving artworks ever made about New York. It makes you see our resilient, evolving city anew and invites you to fall in love with it all over again, and again, and again. FOLLOW ANDREW RUSSETH ON TWITTER OR VIA RSS. [email protected] Like 366 Tweet 28 Share submit Email TAGS: THE YEAR OBSERVED, BEST OF 2013, GALLERIES You May Like Sponsored Content by Taboola 127 Henry Street, New York, NY 10002 www.chapter-ny.com Saltz, Jerry “To Do: November 13-20, 2013” New York Magazine, November 18, 2013 2012 album La Futura was unjustly ignored.) Bring dancing shoes. —Jody Rosen The Paramount, Huntington, Long Island, November 16 and 17. Art 5. See Sam Anderson’s Flowers and Money Her first show in a tiny new gallery. All signs point to the vigorously bubbling Lower East Side gallery scene. Witness this new space, barely bigger than a shoe box, where Sam Anderson debuts with a trippy cluster of dowels standing waist-high, many with wee things situated about—bird bones, little tiny barrels, teensy newspapers, mini-horseshoes—in an arrangement straight from her burgeoning imagination. —Jerry Saltz Chapter NY, 127 Henry Street, through December 22. Books 6. Hear Zadie Smith At Barnard. I didn’t adore Zadie Smith’s latest novel, NW, but it is a measure of her gift that this assessment affected my overall feeling about her work zero percent. Smith remains one of our most interesting and ambitious novelists and one of my favorite literary and cultural critics; you can hear her in both capacities—“Artist and Citizen,” as the event title has it—at Barnard College, where she’ll read and discuss the relationship between those two identities. —Kathryn Schulz Event Oval at the Diana Center, November 14, 6 p.m. 127 Henry Street, New York, NY 10002 www.chapterTheater ny.com 7. See Uptown Showdown The Upper West Side’s argument clinic. Past installments of this witty debate series have included “cats vs. dogs” and “comfortable vs. fashionable”; this one, hosted by Kevin Townley and featuring a lineup of very funny people, is “single vs. relationship.” Uh, do you bring a date? Symphony Space; November 13, 8 p.m. TV 8. Watch Almost Human Not just a copycat. New York Magazine, November 2013 The nerd put-down of this show is shaping up to be “I liked it better when it was called Alien Nation.” But Almost Human has impressive production values and two strong lead performances, by Karl Urban as the cop-on-the-edge John C H A P T E R N Y! '(+,)(8,,.&*-.+,+#,*&2#('.&-#-.+&-#(!-) )(()-"+,'.",-"2#(/#-/#0+,#(-)-"#+.(+,)&/ )((-#/&)!#"#, -#,*+-#.&+&2,-+)(!-6&)0+,( )(27(+,)(8,.++(-1"##-#)(0"+"+!!+,,#/&2 #'#(.-#/,.&*-.+,+,*+)/+-"/+2&#'#- &))+,* ) "*-+(0!&&+2,#-.-#(-#(2,-)+ +)(-)((+2 -+- )+'+&2.+.()-",&(++(!'(-" +,'&, #!.+#(,#()+!'5,)'&#%-0)*#+,) + (&%")+,,"),,'&&+-"("#&8, #(!+(#& ')(!-"-"#+-2(#(,.&*-.+,)(/#0"++*),-.+#(! 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