2006-2007
October 12 - December 8, 2007
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CAMPARI PROJECT SPACE: Episode, Judit Kurtág
Curated by Joseph del Pesco
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June
15 - July 28, 2007
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CAMPARI
PROJECT SPACE: New
Works, Aloïs
Godinat
Curated
by Fabienne Stephan
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March
30 - May 12, 2007
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PROJECT
SPACE: REALLIFE
1979-1990
Curated
by Kate Fowle
When
Thomas Lawson and Susan Morgan started
REALLIFE Magazine in 1979, they wanted
to make a publication that would be “by
and about artists.” The magazine’s
first issue was made possible by an NEA
grant in art criticism, awarded to Lawson
through Artists Space.
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PROJECT
SPACE: Hunter
Reynolds Patina
du Prey's Memorial Dress: 1993 to 2007
Curated
by Cay-Sophie Rabinowitz and Christian Rattemeyer
Hunter
Reynolds is a visual artist and AIDS
activist. He was a an early member of
ACT UP, and in 1989 co-founded Art Positive,
an affinity group of ACT-UP to fight
homophobia and censorship in the arts.
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PROJECT
SPACE: Richard
Massey Caution:
Five hungry Soviet cows are in the garden
Curated
by Christian Rattemeyer
For
many years, Miami-based graphic designer
Richard Massey has been researching the
re-use of Modernism’s most iconic
expressions for design applications.
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January
18 - March 10, 2007
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PROJECT
SPACE:
Leslie Hewitt Replica
of a Lost Original
With
a contribution by Rose Olu Ronke Ojo
“Snapshots, ephemera, oral stories pasted down, official and unofficial
biographies left on bookshelves, found letters and mementos of sorts, suspended
in time for constant reconsideration of moments pregnant with political and social
agency”
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September
14 - October 28, 2006
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PROJECT
SPACE 1:
Jordan Kantor: Recent Paintings
Jordan
Kantor produces large-scale paintings of recent
media representations as a means to address the
role of images in our experience of the physical
world. In them, trauma, death, beauty, and history
collide as private thoughts and public spectacles
are reprocessed through paint.
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PROJECT
SPACE 2: Mark
Hamilton: Echoplex
Mark Hamilton’s interest
to understand the roles of (visual) objects in
the aesthetic economies of culture—as markers
of value, but also as markers of the borders
between the inside and the outside of culture – is
at the core of his practice.
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