💐SPRING/BREAK (NOT SO) SECRET SHOW 🦹♀️
👉️tickets: https://www.eventbrite.com/o/springbreak-art-show-12813445625
🦂May 10, 2-5pm First Look
🕷️May 10, 5-8pm Opening Night
🐞May 11-20, 12-6pm
🎒32 Prince Street, New York, NY 10012
Field Projects is Happy to contribute 4 Amazing S/B Alumni Artists from our 8/9 years platonic relationship with @springbreakartshow 😉
🧑🎨ARTISTS
Chiara No @chiara_no_ :"Lure" shown here ascending -S/B NY 2021
Cait McCormack @mister_caitlin S/B NY
Fay Ku @fay.ku - S/B NY 2021
Kris Rac @krisracworks - S/B LA 2023
Set in the OLD SCHOOL building 🏫 where the first SPRING/BREAK shows took place, which was the last times Jacob showed his Black Flag Quilt 🏴(made from homemade BF shirts from punks in the 80/90s...smelled like it too) under @chris_bors curation.
#tefaf #nada #friezeartfair #springbreakartshow #artfairs #caitmccormack #chiarano #krisrac #fayku
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #contemporaryart #contemporarypainting #contemporarysculpture #fineart #art #artworldtoday
https://www.eventbrite.com/o/springbreak-art-show-12813445625
Stop by and check out the show today! Open 12-6!
SEHNSUCHT
Curated by Melissa Joseph @melissajoseph_art
July 7- July 30, 2022
Featuring:
Shangkai Kevin Yu @shangkaikevinyu
Erin Wright @erin.k.wright
Brett J Taylor @brett_taylor_prints
Brittany Marie Søndberg @@brittany_sondberg
Caitlin Parker @caitlin_a_parker
Sophia Sobers @sobers__
Karo Kuchar @karokuchar
Iva Fabrikant @@iivesfabs
Soojin Choi @soojinchoiii
Jordan Buschur @jordanbuschur
Vivian Bond @waxybreakfast
Alexandra Beaumont @anbeaumont
Cole Barash @Cole_Barash
Jill Adler @jill__adler
"Longing is momentum in disguise: It’s active, not passive; touched with the creative, the tender, and the divine." -Susan Cain
Absence and presence characterize the turn of this mirrored decade. Socially and politically, the United States has experienced a collective gap, a longing, a desire for closeness that is never found, or only found in absence. Mobilizing the aesthetics of this cavernous longing, each selected artist has created works that resonate with the imagined presence of another, an aching closeness never achieved. Sehnsucht is German for prolonged longing, yearning, or craving for completion. Some psychologists still use this term to describe the thoughts and feelings about facets of one’s life that are unfinished or imperfect, paired with a yearning for ideal alternative experiences. Sehnsucht characterizes our decade of unreality, our collective feeling that things are “not right” and our longing for the alternative.
The works in this show, for me, speak to longing through what is missing. It is the negative space--either implicated or forcibly removed--that draws me into their objecthood and reminds me of my own ongoing search for things I cannot name. Walking through this exhibition, what is "not there" is as active as what's visible. Peek into the folds, look through the loops, consider what has been cut out.
Opening Thursday July 7th 6-SEHNSUCHT
Curated by Melissa Joseph
July 7- July 30, 2022
Featuring:
Shangkai Kevin Yu, Erin Wright, Brett J Taylor, Brittany Marie Søndberg, Sophia Sobers, Caitlin Parker, Karo Kuchar, Iva Fabrikant, E. Saffronia Downing, Soojin Choi, Jordan Buschur, Vivian Bond, Alexandra Beaumont, Cole Barash, Jill Adler
"Longing is momentum in disguise: It’s active, not passive; touched with the creative, the tender, and the divine." -Susan Cain
The works in this show, for me, speak to longing through what is missing. It is the negative space--either implicated or forcibly removed--that draws me into their objecthood and reminds me of my own ongoing search for things I cannot name. Walking through this exhibition, what is "not there" is as active as what's visible. Peek into the folds, look through the loops, consider what has been cut out. It is in these places that you will find what you are looking for, even if you don't know what it is. - Melissa Joseph
A very quick walk through of @elbertperezonline solo FROM WHAT I REMEMBER curated by @basquiat_fanfic
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6 - ONE WEEK LEFT!
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #c
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6 - ONE WEEK LEFT!
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #c
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6 - ONE WEEK LEFT!
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #contemporaryart #con
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #contemporaryart #
I HAVE SEEN THE FUTURE - OPEN TODAY 12-6
This project is an appraisal of the world that was wished upon us.
Twenty-five years apart, in the very heart of the American Century, two World’s Fairs were held in Flushing Meadows. On the precipice of World War and at the height of the Cold War, the world came to New York City, and New York City showed itself to the world. Tens of millions of visitors flocked to Queens to glimpse the American Way, paved the world over as an unyielding, uniform path hewn by capitalism and democracy. They stood in awe before the Unisphere and beheld the unilateral force that thundered forth as mushroom clouds—and Coca-Cola.
Johannah Herr’s flocked architectural models are sculptural objects that each represent an imaginary pavilion in a themed “Area” of the World’s Fair. The display is also accompanied by patterned, flocked wallpaper that references 1960s interior design and subtly contains language of racially restrictive covenants in postwar housing. These are complemented by a digitally printed “Ironic Curtain” detailing unfortunate Cold War-era parallels between the US and the USSR. Naturally, the floor is tiled in linoleum; the entire exhibit is rendered in a late 1950s palette reminiscent of the era’s appliances—which were decidedly weapons in the Cold War.
The seven models have been photographed and included in I Have Seen the Future: Official Guidebook, a collaboration with Cara Marsh Sheffler that expands upon the themes tackled in the models through text and subverted advertisements. Through these items, they emphasize a worldview that hinges on interdependency—a concept all too foreign to the country that gave the world the cowboy, the pioneer, the action hero.
—Johannah Herr & Cara Marsh Sheffler
#fieldprojects #fieldprojectsgallery #fieldprojectschelsea #fieldprojectsNYC #artistrun #artistrunspace #diy #chelseagallery #newyorkgallery #conceptualart #contemporaryart #contemp