I Stepped into the Room

At first I wondered why the room felt so safe.
Then I realized it was because there were no windows.
-Slyvia Plath, The Bell Jar

..................................................

Tina Kim Gallery is pleased to present I Stepped Into The Room, a group exhibition featuring work by six New York-based artists. Titled after the final line in Sylvia Plath's seminal work The Bell Jar, this exhibition considers the intersection and interplay of the psychological and the spatial. At the close of the novel, Plath's protagonist has been institutionalized and finds herself in a psychiatrist's office, passively awaiting her fate – freedom or further confinement. As the story is recounted via first-person narrative, it is never explicitly clear whether the character is predisposed to mental illness, or whether she is assigned this label as a result of her rejection of social norms and gender expectations. The literal and corporeal act of stepping into the room becomes a metaphor for the confrontation of this duality and the outcome is purposefully left open to the reader's determination.

Throughout the novel, sensitivity to one's physical environment is linked to and implicated in psychosis. Similarly, the artists in this exhibition utilize space – exploring it as both a site of restriction and liberation – in order to confront the tenuousness and uncertainty inherent to both their gender and their profession. Through a variety of media, including installation, painting, photography and video, each artist relates to physical space in a manner that is distinct and entirely her own. Nonetheless, all of the works in the show find commonality in the latent presence of narrative, and in their questioning of identity, etiology and purpose.

Artists: Tracey Goodman, Kyung Jeon, Shiri Mordechay, Habby Osk, Rocio Rodriguez Salceda, Joanna M. Wezyk


Tina Kim Gallery is located in the Chelsea Arts Tower at 545 W.25th Street. During the summer, the gallery will be open Monday - Friday, 10 am – 6 pm. For further information, please contact Jaime Schwartz at jaime@tinakimgallery.com or (212) 716-1100.

NYU MFA Studio Art - Thesis show

Opening
April 7th, 2009
from 5-8 pm

Student show at Rosenberg Gallery
http://rosenberggallery.blogspot.comTracey Goodman




"Untitled (pink parchment)"
7 x 4 ft, plywood panels and hand-dyed parchment
2008

TWO WAY MIRACLE

Two Way Miracle

Nine New York University MFA students studying in Berlin will present a short-lived show, Two Way Miracle, for one week only TWO WAY MIRACLE at Peres Projects. Organized and curated by Sue de Beer, the show represents a divergent grouping of work selected in part by what could fit in our suitcases. The title of the show, Two Way Miracle, was chosen by Sam Consiglio, the one artist showing work who is not in Berlin for the show. No one thought to ask Sam what the title was supposed to mean, and so through a twist of uncertainty we are relying on karma to bring the works together. Perhaps this is the miracle we’ve been searching for: a title is given, the works are chosen, and from thematic disunity emerges a simultaneity that transcends any thematic unification.

Sörine Anderson
Peter Clough
Sam Consiglio
Mila Geisler


Tracey Goodman
Jennifer Gustavson
Eun Jin Kim
Jeremy Olson
Nickolaus Typaldos

Soap Factory Interview

An interview with Tracey Goodman in conjunction with the exhibition: Host, at The Soap Factory Art Gallery in Minneapolis Minnesota.. Video by Bob Fagerhaugh. Music by Paul Metzger

Soap Factory

Working at the Soap Factory in Minneapolis today.

Smack Mellon's summer exhibition is curated by an emerging curator and includes artists selected from Smack Mellon's Emerging Artists Exhibition Program-an annual open call to emerging artists. This year, emerging curator and Smack Mellon's Director of Exhibitions, Suzanne Kim, has selected eight exciting emerging artists to present their work. These diverse works collectively re-examine and represent existing and imaginary places.

Far from being a "white cube", Smack Mellon's architecture provides a unique point of departure for artists making site-specific installations. Svetlana Rabey's work functions as architectural shadows, reacting to the shape and dimensions, color, texture and scale of the space it inhabits. Focusing on a section of the gallery's concrete coal trough for her most recent wool-felt installation, she flattens its volume to create a shadow of the massive form. This shape then divides and multiplies, expanding systematically.

Tracey Goodman's slim suspended lines similarly direct our focus to the concrete trough that dominates above. As she creates a faulty path for an imaginary electrical source with her delicate cast plaster conduits, quad outlets and junction boxes, Goodman contradicts the efficient and logical paths of the building's modern electrical system and its obsolete function as a "Boiler Building".

http://www.smackmellon.org/

To watch the interviews for the show please follow this link
http://www.smackmellon.org/popup08/emergingVid.html

written by Alison Owen

In Tracey Goodman's installation "Untitled (disconnect)", frail plaster conduits and
outlets are suspended from the ceiling, mapping out a path in the vault of smack-mellon's cavernous building. Like ecclesiastical
architecture, whose function was to train the congregant's thoughts on
heavenly things, the work pulls the eyes and thoughts up. As we examine these spaces, however, we are met with materials and objects of a humble nature.

The prosaic elements relating to a building's function have been cast and reimagined.
By drawing attention to the unused upper half of the building, Tracey Goodman investigates the way that we interact with space, focusing her attention particularly on the things that indicate former uses and histories. Once our attention is caught by the thin curving rods, we become aware of the building's functioning conduit pipes and outlets, and the installation expands to take these into its composition. The conduits installed by Goodman are layered over the actual electrical grid. Like a palimpsest, the old can be glimpsed through the new. Smack Mellon was once a boiler building, and the traces of its previous life can be found throughout the space. The room is incredibly tall, with 35 foot ceilings – more height than is required of most works of art. While the rest of the work in the show remains in the lower third of the building, Tracey's installation alone reclaims the upper reaches of the space.

In another part of the building, what seems like an overabundance of light switches and fuse boxes proves to be real. But it is supplemented by stacks of cast components, creating a profusion of balancing cubes. As with the suspended conduit piece, Tracey plays with proliferation and function. Failure and excess are inherent in these works – the conduit pipes never meet, the switches cannot be turned off and on, the exit sign is a mute white plaster.

The dicotomies between presence and absence, negative and positive, are important conceptual through lines in Goodman's work.The form of "Untitled (disconnect)" , like her earlier piece "after the flood", reads as a cubic volume, but contains absence. The airy tracery of her composition somehow fills the overhead space even as it exposes its vast emptiness. Goodman has created a fragile yet confident drawing in space, adding another layer to the meaning and history of this place.

Artists in the Market Place 27 (here and elsewhere)

'Here and Elsewhere' features a range of work by 36 artists from throughout the metropolitan area, all of whom have participated in the most recent incarnation of Artist in the Marketplace (AIM) one of the most celebrated and competitive programs for emerging artists in the country.

"The skin of my studio transported and placed in and on top of the museum architecture. A flood, the dislocation and displacement that occurs in the wake or aftermath of such an event.

The debris or fragments left from specific events or experiences, these are the bits of information I am interested in, for what they can tell us about who we are and where we come from. How a flood can reveal the nature of things, things that have long been forgotten"