Posts Tagged ‘Grayson Cox’

Going Gray

Thursday, September 10th, 2015

Grayson Cox, SVACE faculty member and Residencies alum, is busy this season! Hot on the heels of a summer group show at Marc Straus, Grayson’s work is featured in two group shows this month.

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Grayson Cox and Nadja Frank, “Lost in Reality,” 2015

Halftone, a group show at Planthouse, features Lost in Reality (2015), a collaborative silkscreen and letterpress print with Nadja Frank. Grayson and Nadja teamed up last spring for SELF Check Out,a two-person show at the same gallery.

Grayson_Cox_and_Nadja_Frank_Self_Check_Out_Collaborative_Print_2015

Grayson Cox and Nadja Frank, “Lost in Reality,” 2015

Published by the Artist at International Print Center New York (IPCNY) is a much larger group show, bringing together approximately 100 artists. The show focuses on self-published editions. Grayson will exhibit We came here on a meteor and evolved (2014).

We came here on a meteor and evolved

Grayson Cox, “We came here on a meteor and evolved” (2014)

 

Tune in to our Facebook, Twitter, and Instagram pages for updates about Grayson and other faculty members!

Open Wide

Thursday, May 30th, 2013

This weekend, studios downtown and in Bushwick will open their doors to the public!  If you are tired to thumbing through enviable pictures of gondolas, champagne, and merchants in Venice, then poke through art in your own backyard!

Open Studios weekend at the Workspace Residency of Lower Manhattan Cultural Council opens Friday night and continues through Sunday.  Workspace is a nine-month studio residency program for 18 emerging visual artists and 8 emerging writers.  Our eyes are on Rachel Mason, David Kennedy Cutler, and SVA Summer Residencies alum Grayson Cox, but you can see all Workspace residents on their profile pages.

SVA Summer Residencies alum Grayson Cox on his participatory sculpture

Across the East River, Arts in Bushwick presents the seventh annual Bushwick Open Studios and Arts Festival, which includes over 500 individual studios, spaces, and shows involving thousands of artists.  “This free event invites visual artists, performers, musicians, designers, and the public to celebrate creative expression in one of the most vital arts districts in the world.”  Here are our top picks, in random order:

Image by Loren Munk

Rock Street 2013: Sculpture on Rock Street (featuring SVA Summer Residencies alum Carol Salmanson)

The Parlor Bushwick

Amelia Midori Miller and Augustus Nazzaro 

Storefront Bushwick 

Secret Project Robot

Fedele Spadafora

Svetlana Rabey  (another SVA Summer Residencies alum)

Epic Fail  (featuring a DJ set by Ian Williams of the band, Battles)

Maria Britton, Amanda Browder, Kristen Schiele

We Eat, We Are 

Danny Balgley 

Harthaus

Animamus Art Salon

 

The Hole Shebang

Thursday, April 26th, 2012

It was among the best indoor pool parties, and certainly the best one in an art gallery.  The Water’s Fine was the second solo show by Grayson Cox at Klemens Gasser & Tanja Grunert, Inc.

Grayson Cox, "The Water's Fine," at Klemens Gasser & Tanja Grunert

For the self-evidently ambitious, adventurous, and fun The Water’s Fine, gallery visitors immediately confronted a choice between committing or bailing. Here, committing was marked by a phenomenological and physical interaction: one had to hunch over and scurry under the expansive “table” to reach the nearest opening. (Then, stand up and breathe.) The conceptual gesture belongs to the viewer, soon feeling the burn in his or her thighs.

Grayson Cox, "Table," 2012

Next, a viewer contemplated which “hole” to pursue next. (Where do you see yourself? Do you want the capacious big hole? Or is the single-serve small hole more private?) And while shuffling underneath, the viewer might begin to appreciate this architectural underworld. The hiding child: “Will anyone know I’m here?” The forensic professional: “Now to see how they built this.” The lecherous adult: “Can I do bad things here?”

Drop in, drop out

Chris Benfield of Benfield Architects solved the problems of building this landmass of inverted cocktail tables, this anti-matter pool party, called Table. According to Grayson, Benfield “shared his library of books on ergonomic design that proved invaluable when determining actual measurements for body odor zones and body-space considerations. Mr. Benfield also designed the way the sculpture would be made into a kit and fit together without and screws or nails.”

Architect Chris Benfield (center) with arrayed body-odor zones

Spaced around the perimeters of Table were slightly more than a dozen bleach prints on canvas, each framed by wood and enamel frames, many equipped with cupholders or hand cubbies.  With titles like The Welcome, The Confrontation, and The Understudy, which could be inspired by Irving Goffman, Grayson reveals his interest in interpersonal dynamics. These static works fit within a social, theatrical, vision that no doubt finds support in the relational Table.  How far could this go?  Are vestigial fingerprints and beer residue desirable on those enamel frames?  How about half-full or half-empty cans, the ubiquitous “floaters?”  And what does it mean when nobody is there?  Interesting to me is how Grayson speaks about the prophylactic qualities of gray enamel, even though the entirety of The Water’s Fine, including the raw, bunker space seem to invite ergonomic pentimenti and other scuff marks.

Moreover, Grayson speaks in interviews about “the stations of the cross” and votive “candles” when describing these works, which, with integrated frames and sometimes hinges, seem like altarpieces. The religious content becomes apparent, and one wonders – does Table separate the sky above from the terrain below? Who gets to go above and who remains below? Or the other way around?

El Greco, "The Burial of the Count of Orgaz," 1586

Condition X

Friday, August 12th, 2011

Condition X

“It was a total experiment,” said Marcos Chin of his sculpture.  “I used chicken wire for the base/skeletal structure, then built on top of it using “Amaco” papier- mâché, plaster, clay, and liquid glass… I really didn’t know what I was doing.  The puffy pieces were drawings that I silkscreened onto cotton jersey fabric that I cut and sewed and filled with batting/stuffing that I bought at Mood Fabrics in midtown west.”

Marcos Chin, "Machoman," 2010

“I tried doing a color litho version with six different hues,” George Towne told me, “but it came out muddy.  Still, seeing the color version in person helped me appreciate what was right about the original.”  -George then shared his experience of watching Marcos Chin in the printmaking studio, where Marcos was “prolific” and present every day.

Artist George Towne with "Peter Staley/Silence=Death," 2007 and "Mike with Skull," 2011

How I want to look in 40 years: Tomer Exterman, "Bathers," 2010

These testimonial statements popped up at the opening of Condition X, a group exhibition featuring past participants in SVA’s Summer Residency Program, curated by Keren Moscovitch, the program coordinator, with help from curator and Summer Residency faculty member David Gibson.

How I wanted to look 20 years ago: Ilona Szwarc, "Angelica," 2010

How Look Right to Want I Now: Jeremy Olson, "Untitled, " 2010

What these artists said reflects the hands-on rigor of SVA’s summer residency programs.  Depending on the program they choose, artists get exclusive, private studio space in Chelsea, fully equipped traditional workshops and digital labs, and all of the great humming, buzzing, and blinking machines to complete our bionic, android, art generating potential.  They also get the great humming, buzzing, and blinking people that convert artists into ARTISTS: critics, teachers, curators, gallerists, and full-time artists visit the residency studios.

Former Summer Residents (l-r) Iviva Olenick, James Kao, and Annika Connor

MFA Illustration alumnus Ryan Hartley (center) with his MFA thesis advisor, Marcos Chin (right), and friend

Thus, happily sharing the gallery are well-versed works derived from many generations of making art.  From the software era, we see splendid archival pigment prints, such as Tomer Exterman’s unfliching geri-glam Bathers photos (“bold and endearing representation of the convergence of culture and individualism,” sayeth press release) and Annette Isham’s video of a reflexive reconciliation, Friends First, 2011.  Reviving 19th century handcraft are Iviva Olenick’s wistful embroidered fabrics (like “an old-world ‘blog'”).  And optimistically arranging a marriage between the dexterously drawn and digitally augmented, are Jonathan Reid Sevigny’s pencil fantasias with RGB/CMYK treatment – in hand painted frames (“rife with historical and artistic allusion”).

Relationally Charged: Grayson Cox, "Point of Purchase," 2011

Annika Connor with "Tomorrow Night," 2009; "Summer Lovin," 2009; and "Crush," 2010

While the residency programs are sufficiently endowed for artists to consider them “destinations,” a little research shows that they are momentous launch pads, too.  As a 2005 resident, Grayson Cox gained a following and a focus, and soon scored admission to Columbia’s prestigious MFA program, a solo show at Gasser & Grunert Gallery’s new space in Chelsea, and a review in Art in America.  Jonathan Reid Sevigny had a solo show last December at Envoy Gallery in the LES.  For other artists, the residency offers the means to refuel their careers.  Before doing the residency, SVA alum George Towne had already finished his MFA, acquired teaching experience, and garnered press for his wrenching portraiture.  Following the residency, he had a solo show at Michael Mut Gallery, his first solo show in NYC since 2002.  Marcos Chin, Iviva Olenick, and Jeremy Olson (I’m listing from the top of my head) are among the other artists whose residency experiences were part of larger, expansive professional growth.  So you don’t have to become a performance artist just because studios are too expensive.  🙂

Nate Burbeck, "Sighting Near Scipio, Utah," 2011

Condition X is at SVA’s Westside Gallery, 133-141 West 21st Street, until August 20.