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Press Release Checklist Drop Out: Charles Cohen, Mel Kendrick, John O'Reilly, Oscar Palacio, Chris Sauter, Oliver Wasow July 8 - August 20, 2004 The gallery will be closed for vacation between August 20- August 31. Drop Out is our summer group exhibition of photographs, video, collage and drawings which explore the use of the void as a formal and thematic device. Charles Cohen is a New York based conceptual artist who works in many media. However, the two recent works featured here represent his primary aesthetic concern: the relationship between figure and ground in a photographic context. These two new works are made from photographs which Cohen shot, and then digitally removed or "dropped out" one of the figures from the couple. In both projects, the void becomes the subject. Mel Kendrick is primarily known as a sculptor- but has also used his finished work, and some of its byproducts, as the subject for large photographic prints made from Polaroid negatives. The two large scale black and white prints included here are documents of Kendrick's hollowed-out sculpture which have been reversed yet again by the printing of positive into negative. The two images are actual records of the same work which appear dramatically different for having been recorded in opposite orientations. John O'Reilly uses the void as a distinctive iconographic stylistic element. He often makes reference to a well known art historical subject such as Seurat's fishing boy, or a Muybridge figure, by using the silhouette, not the image. He also uses dark space as a compositional element or an opportunity to pause in the midst of his dense compositions. Boston based, Colombian born photographer Oscar Palacio premiers his work in New York with a series of poetic color photographs which capture the edges of American living spaces. These unpeopled intimate observations are emotional and evocative. Palacio has remarked how as an immigrant and "stranger", his records help him to orient himself. His "drop-out" is the dis-connect which exists between the image and the subject. Chris Sauter first received wide public exposure with a statement show at the 2003 Miami Basel show. Within a primarily architectural installation, he managed to include drawings, photographs and appropriation collage. What most of this work has in common is the carving out of information to create a subject. The non-verbal communication series of photographs presents handsome industrial landscapes in which cartoon balloons are cutout to form suggestive voids. He has also applied this strategy to magazine collages in which the text is carefully excised forming an almost doily like see-through space. In both series- the viewer is made aware that the subject is the thing that is missing, creating a dada sense of humor and frustration. With his seductive and scary scifi landscapes, Oliver Wasow has been a key figure in post photography since the early 1980s. We will show two new works in which billboards are inserted into dramatic landscapes, with the elusive message either left blank as a slate, or in the video a mysterious repetitive time-loop moves endless past. Like Sauter, Wasow leaves the viewer to fill in the blank. Images: In order of check list below. O'Reilly's to come. DROP OUT: CHARLES COHEN, MEL KENDRICK, JOHN O'REILLY OSCAR PALACIO, CHRIS SAUTER, OLIVER WASOW JULY 8- AUGUST 20, 2004 Entrance: 1. CHARLES COHEN Analog Time 01, 2004 digital c print 40 x 53 inches edition 4/10 Main Gallery (from right to left) East Wall 2. OLIVER WASOW Bangkok, Thailand, 1998-1999 Archival inkjet print 24 x 20 inches edition 2/5 3. OLIVER WASOW Cross Plains, Wisconsin, 1998-1999 Archival inkjet print 30 x 40 inches edition 4/5 4. OLIVER WASOW Akara Falls/ Kaaterskill Falls/ Universal Syudios, 1998-2000 video loop edition 2/10 North Wall: 5. CHRIS SAUTER Cry for Attention: Non-Verbal Communication Series, 2003 Photograph on MDF 11 x 12 inches edition 2/3 6. CHRIS SAUTER Co-Op: Non-Verbal Communication Series, 2003 2/3 Photograph on MDF 19 3/4 x 23 3/4 inches 7. CHRIS SAUTER Consensus: Non-Verbal Communication Series, 2003 Photograph on MDF 10 1/2 x 10 1/2 inches edition 1/3 8. CHRIS SAUTER Partners:Non-Verbal Communication Series, 2003 Photograph on MDF 7 3/4 x 8 inches edition 1/3 9 . CHRIS SAUTER ArtForum: All the Words 1 (Information Series), 2003 Found magazine pages and paint 10 1/2 x 10 1/2 inches 10. CHRIS SAUTER ArtForum: All the Words 2 (Information Series), 2003 Found magazine pages and paint 10 1/2 x 10 1/2 inches 11. CHARLES COHEN AnalogTime 02, 2004 digital c print 43 x 53 inches edition 1/10 12. JOHN O’REILLY 5-21-00, 2000 Polaroid montage 8 1/4 x 8 3/16 inches 13. JOHN O’REILLY Nijinsky Foot, 2002 Polaroid montage 7 1/8 x 5 3/8 inches 14. JOHN O’REILLY 12-17-00, 2000 Polaroid montage 8 1/4 x 8 5/8 inches 15. JOHN O’REILLY 11-9-00, 2000 polaroid montage 9 7/16 x 7 15/16 inches West Wall: 16. MEL KENDRICK Open Core, 2002 scanned polaroid negative 60 x 48 inches edition 1/5 7. MEL KENDRICK Tubes, 2002 scanned polaroid negative 60 x 48 inches edition 1/5 East Wall: 18. OSCAR PALACIO Black Door, 2003 chromogenic print 19 1/2 x 23 1/2 inches edition 1/20 19. OSCAR PALACIO Two Fences, 2002 chromogenic print 23 1/2 x 19 1/2 inches edition 4/20 20. OSCAR PALACIO Chopped Tree, 2001 chromogenic print 19 1/2 x 23 1/2 inches edition 1/20 21. OSCAR PALACIO Grass over Asphalt, 2002 chromogenic print 23 1/2 x 19 1/2 inches edition 2/20 top For additional information please call the gallery or contact us at mail@saulgallery.com |
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