NXTHVN: Un/Common Proximity

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Open: Tue-Sat 10am-6pm

48 Walker St, NY 10013, New York, USA
Open: Tue-Sat 10am-6pm


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NXTHVN: Un/Common Proximity

New York

NXTHVN: Un/Common Proximity
to Fri 13 Aug 2021
Tue-Sat 10am-6pm

James Cohan presents Un/Common Proximity, a group exhibition featuring the works of the 2020-2021 NXTHVN Studio Fellowship artists: Allana Clarke, Alisa Sikelianos-Carter, Daniel T. Gaitor-Lomack, Esteban Ramón Pérez, Jeffrey Meris, Ilana Savdie, and Vincent Valdez. Un/Common Proximity is curated by 2020-2021 NXTHVN Curatorial Fellow, Claire Kim.

Artworks

Untitled (series), 2020 - 2021

Pencil on paper
Suite of 8, (Alisa, Allana, Claire, Daniel, Esteban, Ilana, Jeffrey and Vincent). Each: 28 x 21 in (71.1 x 53.3 cm) framed

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Africosmos, 2021

Gouache, glitter, and collage on paper
54 x 52 in. (framed) 137.2 x 132.1 cm. (framed)

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El Gallo Negro (13 wins - 0 loses), 2021

Leather boxing gloves, ancho chiles, bronze and grizzly rooster tail feathers, pheasant tail feathers
64 x 14 x 10 in 162.6 x 35.6 x 25.4 cm

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King's Blue (I'll Be Seeing You), 2020

"I close my eyes and see the colors, The colors that see themselves in me. It was summertime when that yellow house died, When the melting side of the arctic cried; ""King’s Blue.. King’s Blue."" That’s when I knew I was here to stay."
70 x 24 in 177.8 x 61 cm

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Catch A Stick of Fire, 2021

Aluminum, ceramics, grow lights, spider leaf plants
120 x 120 in 304.8 x 304.8 cm

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Relentless, 2021

Cocoa butter and beeswax
8 x 44 x 2 in 20.3 x 111.8 x 5.1 cm
Edition of 3 plus 2 artist's proofs

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We Could Be Related (You Know Who You Are), 2021

Acrylic, gouache, glitter, and collage on linen with velvet and Obsidian
102 1/2 x 44 1/2 in (51 in. with hanging rod and knobs) 260.4 x 113 cm (129.5 cm. with hanging rod and knobs)

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Fairy Godmother, 2021

Iron rust, patina, simple green, acrylic paint, acetic acid on thrifted t-shirts, aluminium, poplar, stainless steel snaps, hardware
70 x 72 in 177.8 x 182.9 cm

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Just A Dream (In America), 2021

Oil on canvas with audio. Audio: Justin Boyd 2020. Song: Just A Dream Jimmy Clanton 1968
92 x 55 in 233.7 x 139.7 cm

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Keep Kicking; Rock The Vote, 2020

Reclaimed Rocking Chair, Metal Bondage, Official Voter Pen
43 x 31 x 25 in 109.2 x 78.7 x 63.5 cm

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Brutal of you to parade en un cuerpo, 2020

Pen and acrylic on paper
24 x 18 in 61 x 45.7 cm

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Aguijón de profano sagrado (Holy unholy stinger), 2021

Pen and acrylic on paper
14 x 11 in 35.6 x 27.9 cm

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Como La Flor (Toreado), 2021

Leather, embroidered patches, acrylic, urethane, metal flake, steer horn
120 x 120 in. 304.8 x 304.8 cm

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Dust and Devils, 2020

Handmade Spear, Buick Hubcap Shield, Red Satin Drapery, Scarface DVD Case, Antique Shattered Mirror, Fallen Mirror Shards, Black Dust
Dimensions variable (40 x 25 in or 101.6 x 63.5 cm for the model)

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Entreñadas, 2020

Oil, Acrylic and pigmented beeswax on canvas mounted on panel
58 x 48 in 147.3 x 121.9 cm

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Wayward, 2021

Hair bonding glue (rubber latex, black carbon dye)
59 x 50 x 12 in 149.9 x 127 x 30.5 cm

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Meet Me on the Other Side, 2021

Acrylic, gouache, glitter, Swarovski crystals on linen with velvet and Black Tourmaline
104 x 44.5 in. (52 in. with hanging rod and knobs) 264.2 x 113 cm. (132.08 cm. with hanging rod and knobs)

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The title of this exhibition, Un/Common Proximity, refers to the artists’ unprecedented experience of living and working in close proximity with one another during a year punctuated by a landmark U.S. election, global pandemic, and national reckoning of systemic racial injustice.

It also points to the ways in which all seven studio Fellows continued their practices under NXTHVN’s roof, creating work which purposefully and/or inadvertently responded to challenges that mark this tumultuous year. This exhibition highlights both individual discoveries as well as communal responses tackling themes of protection, healing, redemption, and intuitive processing that permeated throughout the studio walls.

Alisa Sikelianos-Carter explores these themes through mixed media paintings and collages that transport viewers into other-worldly realms inhabited by powerfully divine figures with Black features and hairstyles. These works, often cloaked in luminescent materials, evoke a quiet but powerful air of protection while also reminding viewers of the systemic and racialized traumas that necessitate their presence. This type of world- building emerges in a starkly different manner within Ilana Savdie’s practice. Her paintings zoom in and out of the human body and psyche—layering and leaking figures as real estate for bodies down to microscopic life forms and donning features of the Colombian Marimonda mask. The work blurs the boundaries between self and other; host and parasite. Her paintings are washed in electrifying color palettes and celebrate the carnivalesque theme of exaggerating the body as a means of mocking power structures and hierarchies—a historically queer form of resistance and protest.

Notions of protest and opposition are shared in a more indirect manner in Daniel T. Gaitor-Lomack’s artistic practice. Based in performance and assemblage, his work is created with a variety of found objects from the Dixwell neighborhood where NXTHVN is located. These pieces create portals into the space where the works were conceived, embedding significance of time and place while thrusting viewers into the crux of his improvisation-centered practice. If Gaitor-Lomack’s materials point viewers toward New Haven, Esteban Ramón Pérez’s practice directs viewers to his SoCal, Chicano roots through sculpture and sculptural painting. These works center his lived experiences by using personal and culturally significant materials like, leather scraps, feathers, horns, and boxing gloves. Each work radiates a sense of unmovable dignity and power through a combination of brute technical skill and translations of archival photographs, Mexican folklore, and familial history. Vincent Valdez also taps into the personal accounts of his subjects whilst revealing a society that subscribes to distorted myths and realities. His painting and drawings serve as visual instruments that examine 21st century America’s cursed compulsion to repeat patterns of racist, classist, and xenophobic histories. These criticisms, though, are often married with a sense of redemption, highlighting the struggle of societal underdogs through a lense of autonomy and resilience.

Jeffrey Meris’s practice digs further into these notions of resilience, specifically taking his time at NXTHVN to shift his practice from focusing on racialized traumas to investigating care, healing, and levity in response to these traumas. Meris’s monumental sculptures and paintings use materials and processes that center rebirth, alchemy, and even magic. His adherence to, what he refers to as, “collective speculation,” the labor of questioning or ensuring that trauma is not futile, can be related to transcendence, a core principle in Allana Clark’s practice. For her work in this exhibition, Clark uses cocoa butter and hair bonding glue, materials that are not only related to Black personhood, but have historically been used to force fragmentations of self as a means of subscribing to western standards of beauty. As she frees these materials from their traumatic origins, she concurrently offers a metaphor to free herself from the violent compartmentalizations of Black identity.

About NXTHVN
Co-Founded by Titus Kaphar and Jason Price, NXTHVN is a new national arts model that empowers emerging artists and curators through education and access, while also accelerating professional careers in the arts.

NXTHVN’s Curatorial and Studio Fellowships are made possible, in part, by support from The Andrew W. Mellon Foundation, Ford Foundation, and the TOY family in memory of Yves (1988–2011).

Installation view, NXTHVN 2021-2021 Studio Fellows, Un/Common Proximity, James Cohan, 48 Walker Street, June 12 - August 13, 2021


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