Please join us for an exhibition of artists and makers offering their work for sale in support of Ukrainian Refugees held in conjunction with Open Studios | Ukraine Benefit at The Clemente on Saturday, May 21 from 4-8p and Sunday, May 22, 2022 from 2-6p.
The Soniashnyk/Sunflowers exhibition takes place in Room 406 at The Clemente, located on Manhattan’s Lower East Side
107 Suffolk Street, Studio 406, New York, NY 10002
(Between Rivington & Delancey Streets. Subway: F, M, J, Z to Delancey/Essex)
Evoking the sunflower as a symbol of peace and solidarity with the Ukrainian people, Soniashnyk (Ukrainian for ‘sunflowers’) is a group exhibition of ceramics, prints, and paintings organized by The Arts & Crafts Research Studio. A significant portion of each sale will be donated to World Central Kitchen, an organization that is directly supporting refugees of the Russian invasion of Ukraine.
Curated by the Arts + Crafts Research Studio.
Participating artists include Kelly Chang, Julien Gardair, Aya Natalia Karpińska, Hee Chan Kim, Sam Linguist, Andrew Cornell Robinson, Russ Spitkovsky, Frederic Tuten, Miguel Villalobos, and Integrated Makers Collab (a ceramic sculptural collaboration between thirty-two students of Parsons School of Design and the Arts & Crafts Research Studio). Lucas Benoit, Melanie Calabrese, Cindy Cao, Saumya Choksey, Jacqueline Clayton, Janay Davison, Cece Deming-Bernstein, Marcello Flutie, Zoe Frangos, Joshua Frizell, Carlo Hatke, Ellis Herz, Aryan Jaglan, Weston Kear, Yasemin Kurttepeli, Xingtao Liu, Jorge Lopez-Doria, Amanda Lugo, Thomas Mathieu, Presley Nguyen, Mateus O'Donnell, Henry Pakenham, Katie Parsons, Aidan Reinhold, Ahana Sharma, Quincy Sileo, Chloe Trachtenberg, Edmund Trang, Shelby Tse, Ciara Gabrielle Uysipuo, Defne Uzelli, Jiayi Wang.
This exhibition coincides with the 25th edition of The Clemente Open Studios
The Clemente Soto Velez Cultural & Educational Center, Artists Alliance Inc., and the Clemente Residents are pleased to announce the 25th edition of The Clemente Open Studios on Saturday, May 21 from 4-8p and Sunday, May 22, 2022 from 2-6p.
Housing more than 46 visual artists’ studios and 11 visual and performing arts organizations, the Clemente community is thrilled to welcome friends, colleagues, and neighbors back into their home on the Lower East Side. The public is invited to explore this multigenerational community of artists, some of whom have lived and worked in the neighborhood for more than two decades, and residents of participating residency programs. All events are FREE and open to the public. See the press release for a complete schedule of performances, events, and a guide to artist studios and exhibitions.
I have often sought a through line in my work, a sense that what I am making has some common denominator. For a time I relied on the use of a material or method, but that got complicated quickly by my love of ceramics, and printmaking, and drawing, and painting, etc. I prefer not to be hemmed in by the desire for fitting myself into a category, a discipline, in spite of having worked with ceramics much of my life. So I began to look for a visual or formal language that held together across all these media. Drawing and a graphic line seems to run most coherently through my work, and yet even that falters as I find my line or my approach to materials, or my embrace of theatricality can lean hard into an expressiveness that doesn't fit neatly into a formalism that seems so popular of late. In all this incessant seeking to conform to a core identity through form making, I was reminded of the desire for freedom that art making has always been about; breaking out of the conformity of a culture that I have often felt constrained by, making a mark. And in that simple seeking of a place for free expression of form and materials and ideas, I find joy and laughter, and surprise. The core of what I make are not simply images and objects, it’s like an energy, like the artifacts of an event, a memory, a moment.
This sequence of images below began with 1,000 drawings culled from 30 years of sketch books, transformed into 41 prints, with gestural drawings of Jamón Ibérico (Spanish smoked ham legs), superimposed in four colors, abstracted and broken down into half-tone dot patterns. These prints were then cut up into 1,000 small swatches, and were papered over sculptural plinths on which various ceramic abstractions of ham and pork products were placed. Then these prints were silk-screened onto thin paper and pasted over ceramic busts, and lately these have been printed directly onto porcelain forms.
An idea unfolds visually and intuitively, and I try to keep up with it, chasing it where it wants to go.
Andrew Cornell Robinson and Matt Rota, curated by Michael Gormley
March 21st - April 13th, 2019 Opening Reception: Thursday, March 21st, 6 PM-8 PM
Equity Gallery 245 Broome Street, New York, NY 10002 Gallery Hours: Wednesday - Friday, 1-7 PM and Saturday, 12-6 PM
Equity Gallery is pleased to present Hard-Line, a two person exhibition curated by Michael Gormley featuring the artwork of Andrew Cornell Robinson and Matt Rota. By its very nature, the line is considered to be a building block of art-making. It is used as the first step in planning a creative endeavor, the structural scaffolding upon which the artist further builds. However, Robinson and Rota look past this view, realizing the full potential of the line, and allowing it to play a predominant role within their artwork. These two distinctly different artists share a creative implementation of graphic line-work. In their works, lines become an effective and powerful tool for a complex yet straightforward, efficient visual communication and narrative. They utilize the naturally sturdy and rigorous nature of the line, making it a driving force within their art. Through these graphic techniques, their artworks possess a blunt, unwavering immediacy, managing to impart hard-hitting topically relevant subject matters while still retaining an emotionally resonant candor.
The prints and drawings of Robinson are inspired by a visit to Talking Sculptures of Rome, also known as The Congregation of Wits, specific ancient sculptures that were appropriated by the Roman community to serve as a physical repository for public postings, ranging from prayers, to poems, to political manifestos. Robinson takes the spirit of this aggregation of classical art, agitprop, and crude graffiti and applies it to his latest body of work. Robinson gathered 1,000 of his rough, exploratory sketches and compiled them into a series of prints. These adapted drawings fluctuate stylistically and thematically. While some of the subjects are delicately rendered with thin, clean narrow lines, and retain a sense of naturalism, others are bold, sketchy, and extremely gestural, sometimes imparting only the bare essence of what the drawing is representing. The wildly varying styles of draughtsmanship lend themselves well to the dizzying spectrum of subjects that Robinson depicts in his artwork. Nude figures, foodstuffs, modernist furniture, household items, fashion, masks, public figures, and tyrants of the past and present are deftly combined, creating a free association based bricolage that maintains a cohesive yet uneasy cultural narrative. At times, he combines short phrases written in a wide array of fonts, jumbled together. By juxtaposing the lettering against the printed sketches, the text is broken down into its essential elements, revealing just the lines themselves, but still retaining a hint of their original meaning. While mostly monochromatic, color is sometimes introduced in abstracted swaths and layered on in a manner similar to newspaper halftone printing. This serves to further highlight the more formalistic components of the line-work while heightening the hectic nature of the compositions. Through his emphasis on expressive lines and clashing thematic and formalistic rendering, Robinson captures the riotous zeitgeist of popular and political unrest and distills disparate components into an unwieldy and simultaneously succinct form.
While Robinson uses the rough, bare-boned nature of line-work to evoke the wider atmosphere of the contemporary epoch, Rota’s body of work is more particular. Rota turns his focus to precise moments and instances of contemporary political upheavals, injustices, and catastrophes. Often taking inspiration from the constant deluge of news in the digital age, he refines the cacophony of information into unique, pinpointed narrative scenes while embodying the bigger picture. Recently, Rota’s focus has turned to the ever-increasing cataclysmic ecological and human toll resulting from global warming. He composes scenes mimicking the vantage point of satellite images, allowing the audience to survey the crafted locations from an almost omnipotent, god-like perspective. Rota’s drawings are presented in stark black and white, making the detailed, vivid line-work all the more present and visible. Settings of blasted, scorched earth, weather-battered abandoned buildings, increasingly crowded and shrinking enclaves of human inhabitation, and encroaching ominous expanses of water are all meticulously executed. Strokes of ink are bundled and cross-hatched to create thick, dramatic shadows and claustrophobic spaces, or sparingly utilized in small, yet highly kinetic tufts to impart crushing, expanding vastness and dread. This alternation between heavy, granular detail and scarce, negative spaces serves to heighten the weighty ambience of anxiety about the precarious current state of the world. These painstakingly intricate depictions signify a relatable, human story full of pathos, while being a dire warning about the scope and gravity of environmental trauma.
Robinson and Rota use the concise essence of drawing and linework to convey larger messages about the complicated, unstable, and politically restless present. The lines’ versatility and uncanny ability to relay scale, feeling, tension, and information in a elegantly candid way causes both artists’ works to have a clear intellectual and emotional impact on their audience.
Hard-Line will be on view at Equity Gallery from March 21st to April 13th, 2019.
About the Artists
Andrew Cornell Robinson (b. 1968 Camden, NJ) is a contemporary artist who creates sculptural assemblages comprised of ceramic and mixed media juxtaposed with expressive prints and paintings that coalesce in works alluding to myth, ritual and memory.
He studied ceramic sculpture at the Glasgow School of Art, Scotland, and the Maryland Institute College of Art where he received a BFA. He was awarded an MFA from the School of Visual Arts, where he became interested with the intersection of memory, identity, politics and power.
He has been featured in many publications including Sculpture and Maake magazines, Huffington Post, Hyperallergic, Gay City News, Art Info, etc. His work was featured in “Correspondence between NYC & P-au-P,” a publication about the dialogue between artists from Haiti and New York City. He has participated in curatorial and research projects and was a participating artist in Debtfair a project in the Whitney Biennial. Robinson received an Edward F. Albee fellowship residency. He was a visiting artist with Urban Zen, in Port-au-Prince, Haiti and a resident artist at the Agastya Foundation, in Bangalore, India. He is also the recipient of an Urban Glass Merit Scholarship. He is a member of the faculty at Parsons School of Design, and Greenwich House Pottery. Robinson lives and works in New York City.
Matt Rota is an illustrator, educator and author. He studied fine arts at the Maryland Institute College of Art, and illustration at the School of Visual Arts. His clients include The New York Times, Der Spiegel, Politico, Foreign Policy, The Washington Post, The New Republic, The Marshall Project, ProPublica, The Columbia Journalism Review, The Center for Investigative Journalism, Zeit, and The Guardian, amongst others. He is an instructor at The School of Visual Arts, and the Maryland Institute, College of Art. His drawings and prints have been exhibited internationally. He is the author of two books on drawing from Rockport Press, The Art of Ballpoint, and Pencil Arts Workshop.
Art collector Holly Hager in conversation with visual artist Andrew Cornell Robinson
Please join us for refreshments and hors d'oeuvres on Thursday at 7pm for an artist talk when the founder of Curatious, Holly Hager joins artist Andrew Cornell Robinson in conversation about Andrew’s limited-edition print collection “A Congregation of Wits,” on preview at Rusk.
Seating is limited, please rsvp to Eve Rusk at firstname.lastname@example.org
During a visit to Pasquino, one of the “talking statues” in Rome, Italy, Robinson was moved by the leaflets, poems, prayers, manifestos, affirmations and protestations plastered over this sculpture and pediment. Mementos like these have been left by Romans since the sixteenth century when it was one of the only ways that the disempowered citizenry voiced their complaints against a corrupt city state. Much like the bleating crowds on social media today, these physical traces of the unheard and unheeded create a compelling visual palimpsest of civic gathering. In the limited-edition print, “A Congregation of Wits,” Robinson recalls focusing on the hand-written messages, taped and tacked together. He began exploring through one thousand drawing and transcribing an equal number of quotes, poems, prayers and affirmations; associating a fragment of text to each drawing, imagining the visual aggregation of all these voices. This idea manifested in a series of limited-edition silkscreen prints, monotypes, and related artifacts. These prints with layered meanings, and cryptic drawings of people, places, and things are paired with uncanny phrases composed in bold sans serif and serif letterforms inspired by French and Swiss early modernist typography. The series presents a humorous visual and verbal caricature of conversation.
Holly Hager is an author, art collector, and founder of Curatious, a platform for accessible and interactive education about contemporary art. She did her doctoral work in history and was a faculty member at Fordham University.
Andrew Cornell Robinson is an artist based in New York City. He received an MFA from the School of Visual Arts and he studied ceramics at the Glasgow School of Art and the Maryland Institute Collage of Art where he received a BFA. While he primarily works in ceramic, he uses an array of materials that include printmaking, drawing, and painting. Robinson is a member of the faculty at Greenwich House Pottery and
Parsons School of Design.
“When am I done?” is one of the perennial questions working artists ask themselves. To Be Continued, an exhibition organized by artist and curator Eve Rusk, invites artists to exhibit before they have reached a definitive answer to that question. We are delighted to feature the work of Andrew Cornell Robinson in our inaugural exhibition on view at Rusk, 39 West 37th Street, 15th Floor, by appointment. Contact, Eve Rusk at email@example.com
To Be Continued: Andrew Cornell Robinson, A Congregation of Wits, an installation of limited edition prints.
ABOUT THE PROJECT: A CONGREGATION OF WITS
During a visit to Pasquino, one of the “talking statues” in Rome, Italy, Robinson was moved by the leaflets, poems, prayers, manifestos, affirmations and protestations plastered over this sculpture and pediment. Mementos like these have been left by Romans since the sixteenth century when it was one of the only ways that the dis-empowered citizenry voiced their complaints against a corrupt city state. Each message signaling the voice among a choir of discontent or deepest wish. Much like the bleating crowds on social media, these physical traces of unheard and unheeded citizens create a compelling visual palimpsest of civic gathering. In the soon to be premiered artist’s limited-edition print, A Congregation of Wits Robinson recalls focusing on the hand-written messages, taped and tacked together, thinking, “What does it look like when a society gives voice to the voiceless?”. He began assigning drawn images and transcribing quotes, poems, prayers and affirmations; assigning a fragment of text to each drawing, imagining a community and the unique voices in congregation. This idea manifested in a series of one thousand drawings, and one thousand statements which were then silkscreen printed onto a series of forty double sided prints and related artifacts.
Each print is comprised of twenty-five drawings juxtaposed into a modular grid within a square. A series of abstract forms based on Robinson’s gesture drawings of Jamón ibérico is over printed in red, blue, green and yellow. This Spanish ham leg form appealed to Robinson after having traveled extensively in the Iberian Peninsula where he encountered a common gesture of hospitality; the offering of a plate of charcuterie. One of the artist’s favorite authors Christopher Hitchens, speculates that this tradition of presenting guests with cured pig derives from the inquisition where such an offering was a means of sniffing out disingenuous religious converts. These prints with layered meanings, and cryptic drawings of people, places, events and things are paired with uncanny phrases composed in bold sans serif and serif letter forms. The series presents a humorous visual and verbal trace of the voices within a community. They reveal conflicts through caricatured reflections of humanity. As the series progressed, Robinson envisioned these mementos in multiple forms including an animated film, related works on paper and an series of ceramic artifacts.
The style of Robinson’s renderings ranges from technical line drawings, digital imaging and gestural marks in ink and wax crayon transformed through silkscreen print. Composed in a loose and exuberant manner, these images and lines are a reflection and response to the faceless din of civic chatter where everyone talks and no one listens. Robinson curiously reminds us that we can approach the choir of incoherent voices with a sense of humor. MORE