microwave, six, installation view, Josée Bienvenu Gallery, New York

microwave, six, installation view, Josée Bienvenu Gallery, New York

microwave, six, installation view, Josée Bienvenu Gallery, New York

Kamrooz Aram, 2007, From the Series Irrational Exuberance, ink on paper, 10.5 x 14.5 inches (12.25 x 16.25 inches framed)

Ernesto Caivano, 2007, Echo, ink and graphite on paper, 22.5 x 37.75 inches

Graham Dolphin, 2008, 25 Leadbelly Songs, detail, scratched record, 9.8 inch diameter

Jacob Dyrenforth, 2008, Crowd #3, pencil on paper, 29.75 x 22 inches (32.75 x 25 inches framed)

Stephen Eichhorn, 2008, Fall Leaf Burst, handcut collage on paper, 7.75 x 10 inches (10.75 x 12.75 inches framed)

Alexandra Grant, 2005, Contender (after Michael Joyce's "Contend", 2004), mixed media on paper, 126 x 80 inches

Jim Hodges, 1999, Double Mirror, aluminum foil on paper, 22.25 x 8.5 inches

Károly Keserü, 2007, Untitled I, ink on paper, 12 x 8.25 inches (17.75 x 14.25 inches framed)

Brian Lund, 2008, All That Jazz (1946 Edit Cuts), colored pencil and graphite on paper, 17.75 x 11.5 inches (20.75 x 14.5 inches framed)

Rivane Neuenschwander, 2004, Zé Carioca no. 6, Um Festival Embananado (The Festival Went Bananas), Edicão Historica, Ed Abril, detail, synthetic polymer paint on comic book pages, 7 images, each 6.5 x 4.25 inches (12.25 x 9 inches framed)

Renato Orara, 2005, Untitled, ballpoint pen on paper, 8 x 5.5 inches (14 x 11 inches framed)

Jesse Pasca, 2008, My Heart as a Stock Market (4.1.08-5.25.08), colored pencil and ink on paper, 30.25 x 22.5 inches (33 x 25.25 inches framed)

Andrew Scott Ross, 2008, Musées d'art et d'histoire de Genève, graphite on paper, 48 x 34 inches (50 x 36 inches framed)

Casey Jex Smith, 2008, Carve, pen and ink on paper, 22.25 x 30 inches (25 x 32.75 inches framed)

Dean Smith, 2006, bi-polar #3, pencil on paper, 17 x 23.5 inches (19.75 x 26.25 inches framed)

Allyson Strafella, 2007, Untitled, typed colons on carbon paper, 8.5 x 5 inches (11.25 x 8 inches framed)

Phoebe Washburn, 2003, Untitled, mixed media on paper, 30.25 x 22.5 inches

Microwave, six

July 10 – September 13, 2008


Kamrooz Aram, Ernesto Caivano, Graham Dolphin, Jacob Dyrenforth, Stephen Eichhorn, Alexandra Grant, Jim Hodges, Károly Keserü, Brian Lund, Rivane Neuenschwander, Renato Orara, Jesse Pasca, Andrew Scott Ross, Casey Jex Smith, Dean Smith, Allyson Strafella, Phoebe Washburn

The gallery is pleased to present microwave, six, an exhibition of drawings by seventeen artists who set up various processes of fragmentation and erosion of information. Close attention is given to execution, a concentration on the production process itself. A microwave is useful everyday to cook fast, or once a year to look at slow drawings. Since 1999, the (almost) annual edition of microwave has been an opportunity to confirm the emergence of a new attitude. As an alternative to an inhospitable era, microwave identifies an international host of artists who commit to the obscene activity of paying attention. With intense focus, patience and precision, the artists in microwave document the relentless propagation of delicacy as a subversive attitude.

Ernesto Caivano, Dean Smith, Károly Keserü and Renato Orara bring drawing to an extreme, as a sort of “maximalism.” Through the endless weaving of minute components, they accumulate signals and vibrations impossible to detect without an extraordinary level of attention. Tones, hues, and shades combined with density, shapes, and intangible forms result in a grand yet subtle game, always remaining just a fragment of a whole. With obsessive attentiveness to detail, Jim Hodges, Stephen Eichhorn and Kamrooz Aram subvert the conventions of monumental practice, poetically linking evanescent moments in works of self-confident beauty.

The works in the exhibition touch upon the very fragile nature of communication and exchange. Allyson Strafella’s typewritten drawings on transfer paper, Alexandra Grant’s multilayered wordscapes or Rivane Neuenschwander’s Ze Carioca altered comic books, explore ways of recording, fragmenting and obliterating information to create new non-verbal narratives. Data manipulation is also at the core of Brian Lund’s graphic translations of film sequences and of Jesse Pasca’s charted drawings: Moore’s Law, My Heart as a Stock Market and How To Be Human, map the correlation between human activity and systems of scientific data.

Through minor operations on paper the artists in microwave disturb established systems of expectations. Jacob Dyrenforth’s pixilated pencil drawings of crowds at rock and roll concerts and Graham Dolphin’s scripted vinyl records disrupt and reprocess the clichéd aspirations of popular culture and the glamour industry. Growing up in Utah in the Mormon Church, Casey Jex Smith explores narratives in ancient scripture. Andrew Scott Ross’ Re-Collections inventory given museums. Randomly floating in space, artifacts are depicted in a constant curatorial drift, suspended from interpretation and hierarchy. Phoebe Washburn exposes generative systems based on absurd patterns of production. With their elaborate notations and coding, the un-monumental drawings are microcosms of her convoluted architectural environments.



microwave, six | September 2008

Josée Bienvenu Press Release