September 16 – October 29, 2005
Opening Reception: Friday, September 16, 6–8pm*

*Joint opening with The Drawing Center, 35 and 40 Wooster Street, New York, NY
LineAge: Selections Fall 2004, featuring nine emerging artists, and Looking at the Spirits: Peter Minshallís Carnival Drawings, with a performance by the Sesame Flyers Steel Orchestra from 7‚8pm.

Kelly Poe, Untitled (Chaemaea Fasciata, Wrentit caught in mist net. Monitoring Avian productivity survivorship, Canada Gobernadora, Rancho Mission Viejo, California), 2003, 20 x 18 in. C-print courtesy of the artist and Anna Helwing Gallery, Los Angeles.	Raquel Ormella, 130 Davy Street (detail), 2005, Whiteboards, wall drawings, installation view, University of NSW Sydney. Courtesy of the artist and Stephen Mori Gallery, Sydney.

MAIN SPACE: International Geographic
Raquel Ormella • Kelly Poe

International Geographic brings together two artists who consider the ways in which nature and its preservation are represented, administered, and fought for. Sydney-based Raquel Ormella has followed and sympathized with alternative, activist, or political groups. Her most recent project, 130 Davy Street, takes its title from a group of ecological activists based at this address in Hobart, Tasmania. Consisting of 18 drawings on whiteboards, the series traces in layered, multiple representations, the group’s office interiors, maps, schedules, and meeting minutes. Based in Los Angeles, Kelly Poe has spent the last four years working with ornithologists in bird-tracking stations in the American West, where she has photographed birds caught in the mist nets and traps used to temporarily arrest them. Her images are strikingly beautiful portraits taken at vulnerable moments, as the birds rest or pause in their battle with the nets in which they are hopelessly entangled.

Artists Talk: Saturday, September 17th, 2:30 - 4pm at Artists Space
International Geographic: Raquel Ormella, Kelly Poe, and Peter Bloom, Ornithologist with Christian Rattemeyer (Moderator)

International Geographic is supported, in part, by the Australia Council for the Arts.

^ Frank Oudeman, Time Warner, 2004, video still courtesy of the artist.

As an extended part of Wild Walls New York: A Series of Films in/on Architecture, which will take place October 6–11, 2005, Artists Space presents a selection of artists’ videos that investigate, document, and disturb urban spaces, both public and private, new and old. Wild Walls New York is organized by Artists Space and the Center for Architecture, and includes film screenings at Anthology Film Archives, special events at Artists Space, Storefront for Art and Architecture, the Center for Architecture, and screenings in public spaces such as Columbus Circle and the former asphalt plant Asphalt Green. A separate program will follow. MORE INFO

Special Wild Walls NY Event at Artists Space: Thursday, October 6, 6–8pm

^ Ryan Gander, Portrait of Mary Aurore, 1972, 2003, black and white photograph, courtesy of the artist and Annet Gelink Gallery, Amsterdamn, and Store, London.

Ryan Gander’s work——comprised of installations, objects, illustrated novels, and manipulated situations——creates tentative and profound connections between seemingly unrelated things. Playing deftly with the powers of perspective, exaggeration, and decontextualization, Gander takes seemingly trivial or tangential objects and illuminates their inherent meanings and associations. His earlier pieces have featured elusive and non-elusive protagonists, such as the artist Spencer Anthony, love interest Marie Aurore, as well as a wooden chock, and a leatherette cover. Through his varied pieces, Gander brings together the keenly observed and the elegantly imagined, continually expanding the vocabulary and possibilities of artistic discourse. Ryan Gander works and lives in London.

Special Event, Friday September 16, 4.30–6pm at Artists Space: Ryan Gander: Loose Associations II (lecture)

Ryan Gander: But it was all green is supported, in part, by the British Council.

^ Adrià Julià, La Villa Basque, Vernon, California, 2004, 16mm film transferred onto DVD, 35 min. Video still courtesy of the artist.	^ Adrià Julià, La Villa Basque, Vernon, California, 2004, 16mm film transferred onto DVD, 35 min. Video still courtesy of the artist.

Adrià Julià’s film La Villa Basque, Vernon, California depicts a restaurant of the same name in Vernon, California, a tiny community just 5 miles east of downtown Los Angeles, which was co-founded by a French Basque immigrant in 1905. An homage to the town founder’s ethnic roots, the restaurant is a Basque mirage and an imagined memorial to the family that is still controlling the community. In his film, Julià examines the restaurant’s elaborate, colorful, and outdated décor, customs and activities. The piece is a metaphor for memory as much as it is a tangible example of the American Dream.