All posts by scottpgoodman@gmail.com

Vital Enhancements: June 25th – July 24th – content

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Signe Pierce, Neon Palm, Limousine Dream, and HyperspFace. All Photographic prints, 18 x 24 in. 2015.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Signe Pierce Neon Palm, 2015 Photographic print 18 x 24 in. Signe Pierce Limousine Dream, 2014 Photographic print 18 x 24 in. Signe Pierce HyperspFace, 2015 Photographic print 18 x 24 in. Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Cecilia Salama From the permanent collection (II), 2016 Digitally printed tile, grout, house paint 36 x 12 x 1 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Cecilia Salama Part of our routine. 2016 Pull-up bar, latex, acrylic, iridescent medium, digitally printed rubber mat 36 x 60 x 36 in

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper. Signe Pierce Neon Palm, 2015 Photographic print 18 x 24 in. Signe Pierce Limousine Dream, 2014 Photographic print 18 x 24 in. Signe Pierce HyperspFace, 2015 Photographic print 18 x 24 in. Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper. Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

Good Work Gallery presents: “Vital Enhancements”

Curated by Sara Blazej

June 25th – July 24th
Opening reception Saturday, June 25, 6 – 9 PM

Featuring work by:
Alexander Heffesse
Aria MacManus & Raine Trainor
Signe Pierce
Ilana Savdie
Cecilia Salama
With performances by Allison Brainard and Emily Oliveira

Vital Enhancements brings together artists exploring the relation between anxiety, optimism and the consumer impulse central to commercial Wellness culture. 

In her 2013 monograph Cruel Optimism, theorist Laurie Berlant describes optimistic relations as mobilizing forces that pull us out of ourselves and into the world, ostensibly leading us closer to our ultimate desires. These relations may involve food, a kind of love, or simply a new habit which promises to induce an improved way of being, yet they stand to become toxic when the aspirational object impedes the overall aim that brought us to it initially. This dynamic, according to Berlant, culminates in a relation of “cruel optimism” fueled by cycles of hope, consumption, and disappointment. It is through the lens of this sentiment that Vital Enhancements looks at the mechanisms driving commercial Wellness culture as we experience it’s growing influence on the physical and mental landscapes of modern life. 

Predicated on a rhetoric of improvement, perfection and longevity, the Wellness mentality best finds footing within individualist, consumer populations obsessively concerned with personal value and delaying physical and moral decay. As this mentality is easily commodified in a visual culture where desires are manifested through aspirational mass media and advertising, the notion of a more perfect self tends to find shape not in an evolved, abstract sense of well-being, but rather settles in various prescriptive consumer products and systems: anti-aging items, nutritional regimens, fitness programs, etc. This exhibition plays formally with these objects of optimism – each a well packaged promise within a series of promises made by an industry based on guaranteed results. It explores our subjective relationship to the things designed to provoke in us an excitement for a better self in a brighter future while habituating the impulse to buy and buy into.

The featured works draw on the visual language and materiality of Health, Fitness and Beauty products, deconstructing and recontextualizing familiar items of enhancement to reflect the unease and absurdity of being marketed one’s own self improvement. In varying ways they examine the roles of underlying neuroses, manufactured hopefulness and compulsive consumer behavior in cuing and commodifying a population’s appetite for “beauty, health and happiness.” Signe Pierce turns utopian marketing tropes in on themselves with advertorial visions of surreal dystopian spa interiors. Her photographs suggest spaces and apparel designed in another dimension for another breed of humans without affect, while Aria MacManus and Raine Trainor confront the anxieties facing the humans of now. They seek to alleviate the humiliation of routine body maintenance with HYGENIUS, a series of whimsical product innovations sleekly designed for discreet self care in the public domain. Of this series, they present Sheer Udder Brilliance, a multipurpose luxury purse which will be submitted for patent upon purchase. Alexander Heffesse’s wall sculpture also takes the form of consumer goods, but alternatively, his grocery store beverage display suggests availability for mass consumption. Heffesse’s melting gradient of Vita Coco bottles and halved football coconuts present a conversation between the physical properties of coconut oil and paraffin wax, disrupting our perception of the items we purchase and ingest beyond their highly palatable manufactured presentation. Cecilia Salama assembles work out items to weave a narrative around her obsession with a YouTube gymnast, connecting with her fantasy through the instruments and imagery on which she and her online viewers base her identity. In a move to reclaim commercial imagery for creative expression, Ilana Savdie digitally renders cosmetic facial masks into frenzied abstractions with the same Photoshop retouching palette used in their creation, ultimately transforming them into intoxicatingly vivid large scale paintings.

Sara Blazej

Brooklyn, NY 2016

NOUSTROPHAGOPHILIA: April 29th, 7pm – 11pm – content

FOLD and Cafe Sauce present:

NOUSTROPHAGOPHILIA

BLOOD FEAST FOR THE MIND: Psychogenic phase transition portends the entity-nonentity.

Friday, April 29th, 7pm – 11pm

During Stewart Losee’s solo exhibition Kabinet Materia.

Please join us at a very special event, a pre-premiere of FOLD’s new play MIND. Inspired by French poststructuralism/existentialism, the Mandala principle of Tibetan buddhism, and the Western hermetic tradition, MIND pits five projections of neurotic consciousness against each other in a doomed struggle for metaphysical supremacy and self-transcendence.

Followed by a delicious cannibal feast….

MIND
Presented by FOLD
Written by: Eli Epstein-Deutsch, Ben Rosenberg, Etienne Pierre Duguay
Costumes by: Ben Rosenberg
Additional set design by FOLD
Solo Exhibition of work by: Stewart Losee.
Directed by Etienne Pierre Duguay
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KABINET MATERIA:
Losee’s work has long tread the line between so-called naïve and ‘high’ art, believing that both may offer up a mirror to the human psyche, illuminating the algorithms of raw desire. The works at KABINET MATERIA largely consist of gouache over wooden relief. Losee cuts the reliefs utilizing a CNC router, and mixes all of the paints himself to achieve a highly-saturated palette. Evoking digitally-oriented subject matter through traditional materials, Losee parodies the influx of would be folk artists into the new medium of the Internet. Large-scale facades have been substituted for the walls and floor of the gallery so as to provide an environment which the remaining works can inhabit, suggesting an installation arranged like a hypertext. A picture in a room can represent a portal to another room: worlds within worlds strung together with repeating motifs.
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Nous (/ˈnuːs/), sometimes equated to intellect or intelligence, is a philosophical term for the faculty of the human mind which is described in classical philosophy as necessary for understanding what is true or real.

Gastro- is a common English-language prefix derived from the ancient Greek gastros (“stomach”).

Phago- Word Origin: a combining form meaning “eating, devouring,” used in the formation of compound words.

Philia (/ˈfɪljə/ or /ˈfɪliə/; Ancient Greek: φιλία), is one of the four ancient Greek words for love. In Aristotle’s Nicomachean Ethics, philia is usually translated as affection. The complete opposite is called a phobia.
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Catering by #cafesauce
Devour psychic flesh with us

 

POMOROCOCOFOMO April 17th, 2016 – content

POMOROCOCOFOMO FLYER

Sunday, April 17 at 7 PM

On this blessed Sunday eve we will explore the array of holes that can be found in the common human face. We will modulate their inputs, and optimize for maximum titillation. Prepare to consume a classical still life. Prepare to smell things and let your tongue move as if all words were onomonopias. Open your ears to babies crying, then babies singing through black wooden tubes, through Invisible Dave’s mouth. Let the gentle drums of Erik Z guide you over the placid waters of never-scapes. Let the hyper sentiment of Ziemba paint your capacity for emotion in a honey-like glue that will collect iridescent beetles over the duration of the evening. Join us in a modernist’s anti thesis. See your face in the dim reflection of the black greco-roman empire, and in your mind slowly dip all the monuments in crude oil. Join us.

Performances by
ZIEMBA
PLEASURECRAFT
DJ work by ETIENNE PIERE DUGUAY
Feel free to bring snack and drink
Free entry

Stewart Losee: Kabinet Materia, March 19th – May 1st, 2016 – content

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee, Temple
Stewart Losee, Temple

Stewart Losee, Temple

Stewart Losee, Temple

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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KABINET MATERIA
Production by: ESTÜ

March 19th – May 1st 2016
Opening Reception:
Saturday March 19th, 6PM
Opening Hours: Saturday and Sunday, 12PM – 6PM, and by appointment

Good Work Gallery is pleased to present ‘KABINET MATERIA,’ an exhibition of Stewart Losee’s most recent work.

Losee’s work has long tread the line between so-called naïve and ‘high’ art, believing that both may offer up a mirror into the human psyche, illuminating the algorithms of raw desire, and exposing the human subject left to their own devices. His art is informed by interests in the culture of whittling as a hobby, 60s-era acid art, and industrial design. It has manifested most notably in the mediums of painting, installation, and various types of woodwork.

In KABINET MATERIA, Losee’s work provides a crucial link between traditional folk art practices and more recent folk art trends made possible by the Internet. As a source of inspiration he has returned to some of the earliest creative endeavors of his life – his own childhood experience of playing with Bryce 3D, a first-wave 3D design software from the mid-90s that for him provided a portal to the fantasy worlds of pristine landscapes, textured orbs, planes of water, and reflective golden avatars that other consumers also created within the program, a surreal mindscape of the collective user. Losee believes the manifestations of their most ideal hopes, dreams, and desires confess not only to a profound bathetic vacuity, but also to an innate or programmed tendency for the esoteric, culminating as popular mysticism. Software developers termed this ‘user-generated content,’ while Losee calls it ‘fan art,’ and he has seen much of the same in following the trajectory of how immersed users respond to the interactive and creative media outlet industry, as can be seen in the virtual material culture of Second Life, and its endless fields of gray mists and low poly foliage.

The contents of KABINET MATERIA largely consist of gouache over wooden relief, Losee cut the reliefs utilizing a CNC router, and he mixed all of the paints himself to achieve a highly-saturated palette. Losee introduces the CNC router to an age-old process of wood carving, expressing digitally-oriented inspirations and subject matter through traditional materials, and parodying the influx of prospective folk artists into the new mediums of the Internet. The exhibition will be self-contained in that large-scale facades have substituted the walls and floor of the gallery so as to provide an environment which the remaining works can inhabit, suggesting an overall immersive installation arranged like a hypertext (as in hyper text markup language, HTML) simulation, where a word in a document will link to another document, or a picture in a room can represent a portal to another room: worlds within worlds strung together with repeating motifs.

Among the individual works selected for the exhibition are paintings depicting surreal simulations: a mirror falls into the ocean, a vaguely feminine silhouette rests upon polyhedra forms, a digital ‘coat of arms’ is generated from a manic shopping spree of virtual found objects; the paintings collapse three-dimensional environments into relief. There is also sculptural media: a walnut cut-off from a wealthy man’s table serves as an improvised voodoo doll, inscribed with Crowley-esque world play, and a large, motorized, multi-media pinwheel spins impressions inspired by hypnotic light projections of deep sea creatures and psychedelic landscapes.

Good Work Gallery Presents at the Know Wave Holiday Party at Santos Party House with unveiling of backlight murals by Scott Goodman – Friday December 18th 2015_content

 

GW_SANTOS6-01

    Good Work Gallery invites you to the unveiling of new wall pieces by Scott Goodman in conjunction with The Moran Bondaroff Holiday Party and Knowledge Wave at  Santos Party House. The evening will feature performances curated by Sara Blazej in which performers Bebe Yama, Rebecca Fin SimonettiSADAF and others will offer complementary views on the topic of visual disruption familiar to Goodman’s work.

Being activated by black light, the murals’ lines bear an iridescent, foggy glow that belies their ostensibly flat, graphic means of articulation. Similarly oppositional, as this soft glow is, to the hard lines it emanates from. Its rigid pattern defines within each mural, that which is established only to relax and dissolve. Square tiling in the stairwell to the south of the venue undulates like caustic light at the bottom of a swimming pool. While a stone wall in the north stairwell swirls like cappuccino foam in the hands of an expert barista. Patio rocks warp, torque and flex around the venue’s upstairs room leaving viewers immersed in an interior space made of exterior features that is as hard and flat as it is malleable and soft.

Scott Goodman was born in 1983, is a graduate of The Cooper Union, and is the founder of Good Work Gallery.

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