July 2012 | Limited Edition of 250
YELLOW PERIL GALLERY 19 July - 12 August 2012
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Publisher: V Souvannasane Editor: Robert P. Stack Art Director: Marcel McVay Advertising Executive: Jennifer Young COLLECT is a monthly limited edition magazine published by Yellow Peril Gallery to promote art and design for the curated lifestyle. COLLECT highlights the current exhibition at the Gallery and provides artists with a unique platform to share not only their work, but also the people, places and things that have shaped their world. COLLECT Yellow Peril Gallery 60 Valley Street #5 Providence, RI 02909 +1.401.861.1535 collect-magazine.com
CONTENTS VISIBLE FORCE / 02 MEET RODRIGO NAVA / 04 ROLL OUT THE FLAT FILES / 07 WHY I COLLECT: JULIA “JULES” KIRBY / 08 WWJD? BROWN FOR ARTIST / 10 LA BELLE ET LE BÉTON / 13 RIVERZEDGE ARTS PROJECT / 14 EVERYTHING IS FOR SALE / 17
To advertise in COLLECT , please contact Jennifer Young at jen@yellowperilgallery.com. COVER DESIGN: Marcel McVay
Magritte (2011) 46” x 24”, James Starkman
NEXT: PARKOUR MID-FLIGHT Our August 2012 issue will feature LET GO: MOMENT IN MOVEMENT, the serendipitous photographic journey of James Starkman as he followed a group of Parkour practitioners (known as traceurs) training in various urban environments in and around New York City. COLLECT is available at Yellow Peril Gallery and other establishments in Providence, Newport and NYC. Read COLLECT magazine online: http://collect-magazine.com
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VISIBLE FORCE is a series of explosive-formed sculptures investigating the nature of process and the materiality of steel by Rodrigo Nava. Seen everyday in structural forms, steel hides its own materiality behind a symbol of strength. Nava’s VISIBLE FORCE, at one time constructed and visually solid objects, hold within them the moment of ignition — the very process that bloated and altered one of our most familiar materials. Nava’s work turns our common read of steel into one quite foreign — the marks and wrinkles of inflation convince us that this is a soft object, yet the common familiarity with this material tells us this shouldn’t be so. This contradiction brings with it a unique breed of authenticity. While defying common perceptions of an everyday material, these expanded forms extract a true vulnerability of steel.
Unexpanded Form (Photo © Mikael Kennedy)
These bloated forms, once drafted, formed and welded by hand — are in one moment altered integrally from a designed and crisp steel unit to a bloated, wrinkled and puckered plastic form, reminiscent of helium balloons or dirigibles. In this, truth is a felt contradiction. The visual weight of steel is confused with the buoyancy of something inflated, lighter than air. From the explosive technique of his Split & Rebound series, where hand carved stone was destroyed then sutured back to its original form, to earlier hydro-formed expansions created by high pressure water — Rodrigo Nava’s work creates a narrative of conversation between artist and process. Each sculpture exists as a visual embodiment of the exact moment when the work left the artist’s hand and became altered by the artist’s process. - Marcel McVay, Curator for VISIBLE FORCE 02
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Rodrigo Nava at Work (Photo Š Mikael Kennedy)
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MEET RODRIGO NAVA Marcel McVay, Manager, Yellow Peril Gallery RODRIGO NAVA is a process-oriented sculptor with a focus on explosiveforming techniques.
Rodrigo Nava (Photo Š Mikael Kennedy)
Born in Mexico City, Mexico in 1978, Nava mentored under artists Edgar Guzman, Joseph Fichter, and Franco Ciarlo. Through these experiences, Nava became familiar with the sculptural use of stone, ironwork and mixed media. Nava took Fichter’s position as Head of Sculpture Department at The Putney School in Putney, Vermont, returning to stone sculpture and incorporating process with materials such as wax, brass, and poured tin. From his current studio in Putney, Nava explores the interaction between the intentional hand of the sculpture, the material quality of steel and experimental explosive processes that alter the form created by hand. Although Nava frequents New York City,
he maintains residence in Putney, where he continues to teach part-time, and at times holds process-restrained, temporary art collaborations. You spend a lot of time in New York City, but maintain a studio in Putney, Vermont. What attracts you to making work in this environment? The Vermont studio allows me to make work with few limitations. There is absolutely no way I could be making this work in any kind of urban setting. The potentially hazardous nature of my process would not allow it What attracts you to process-based art making? The self-imposed limits of my process allow me to better explore the design of my forms. The moment that I expand
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these pieces I allow myself I disconnect from them as objects permitting the process itself to be experienced and made visible. At what point did you decide to let your sculpture go ‘out of your hands’, or have you always worked this way? My earlier stone work also explored the same concept of disconnection from the object by imposing a physical experience on the form. These new works continue this exploration with an effort to further accentuate the visible change in the form and removal of the artist hand. You have had artist mentors in the past, and you currently employ another artist represented by Yellow Peril as an assistant (Flynn Grinnan). Is the master / apprentice relationship important to you, or would you define that relationship differently? The nature of the fabrication of this current work requires extra hands. I have enjoyed the camaraderie involved in the labor of the work. The speeding up of the work also allows me to explore more freely in steel as opposed to model materials with less concern for lost time.
With an artist such as Grinnan whose work touches on some similar aspects as my own, the reward of having him at my studio in Vermont are the discussions about art and sculpture that begin after the work day has ended, the drawing sessions and collaborations and critiques. What artists, works of art or experiences have provided influence for your work? I have always been inspired by the simple stone tools and sculpture of the pre-Columbian Americas. Recently I visited the new Islamic wing at the Met in New York City and was moved by how visible the craftsman’s hand is in all of the decorative work. This work seems so far from what I am doing but yet very inspiring. And of course, we have to ask: what’s next? How do you currently hope for this work to evolve? I would like this work to be larger. I would like the work to live outside. I have begun the research and development as to how the work reacts to the process on a larger scale. So far so good, so look out for larger work in the near future.
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DIANA JOY > IAMTHEINTERNET world premiere @ Yellow Peril, August 2012
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ROLL OUT THE FLAT FILES Robert P. Stack, Curator, Yellow Peril Gallery Owning an art gallery can be a bit like being an Art Yenta: matchmaking talented artists to savvy connoisseurs. But organizing shows can also be a bit like organizing speed dating: at an appointed hour the show opens and the viewers are given a set amount of time in which to get to know the artists and then — DING! — time is up and it’s on to the next pairing. So how can a Yenta broaden the potential base? Flat Files!
FLAT FILES @ Yellow Peril is a revolving collection of works on paper by contemporary artists in a wide range of media including graphite, ink, a variety of paints, photography, printmaking and collage. The concept for The Flat File Project began in the mid-1990s at Pierogi, an artist run gallery in Williamsburg that was founded by artist Joe Amrhein, with the vision of making works on paper available to a larger audience. FLAT FILES @ Yellow Peril aims to be dynamic resource for artists, curators and collectors in Providence, Boston, New York and beyond. Artists in FLAT FILES @ Yellow Peril have a portfolio in a drawer that contains up to a dozen works of art, along with the artist’s biography, CV and all
necessary information about the portfolio (artwork title, date, medium, size and price). The current roster of FLAT FILES @ Yellow Peril include artists who have exhibited at the Gallery and several new emerging and established artists, many of which have works of art acquired by major museums and private collectors. FLAT FILES @ Yellow Peril drawers are open to the public during gallery hours – Thursday + Friday, 3 PM to 8 PM and Saturday + Sunday, 12 PM to 5 PM – or by appointment. A comprehensive catalogue of artworks is also available for perusal on yellowperilgallery.com. So come on down to the gallery and peruse our flies. You just might meet the artist of your dreams!
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WHY I COLLECT: LIFE AS A YOUN Julia “Jules” Kirby, New York, NY / Jackson, WY My collection runs very deep. I grew up in New York City, a museum in itself. My father dragged us as kids to museums and was always surrounded by artist friends. His mother was a sculptress who had even shown at the Met. I used to spend hours drawing and received a scholarship to attend Pratt, though I later left feeling they were draining my individualist ingrained talent. However, through the school (and simply being in New York), I befriended a lot of photographers and artists. I became a muse of sorts and attached myself to the gritty LES (Lower East Side) graffiti hard-partying gangs and modeled. I switched gears at some point, quite possibly because I had to start doing the 12-hour-a-day grind. I worked as a style editor at House & Garden and an accessory and underwear stylist for Glamour, which made me get out of the fashion world completely. During this time, I would go out to the hip celeb clubs and some secret spots in Chinatown that no longer exist and befriend new artists, including musicians and actors. Still trying to figure out where I belonged in the creative realm, I picked up the guitar and began to play music again (I was raised on the piano.). At this point in my life, I felt a bit lost in the city and made the decision to go to the airport to buy my one way ticket to the UK — and I was off. I spent months visiting museums, visiting beautiful homes, and obsessively photographing. I regained my interest in art and was really sure that I had an eye for it. I spent the next few years not doing any art of my own, just patiently admiring others.
“I returned to the US not only as a It made sense for me to create my as I was connecting my artist frien
Having again moved to Jackson, Wyoming, I am le honestly say I disliked. I am in the process of buyin Gileon. So talented. His use of light and color are Mangelsen and photograph wildlife and nature. H his talent is. I can sit in the same spot and not get
There still is plenty for me to be taught and I am ea collecting continues...
How would you describe your collecting approac
If I see something I love, I’ll usually bargain with the the economy’s demise has helped my collection b in Art; therefore, I’ve come across steals at garage
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NG ART COLLECTOR Are you friends with any of the artists that you collect? There is a clear emotional and personal attachment to the art that I connect with. I thoroughly enjoy being able to get to know the artist and easily, in turn, become great friends. What is the biggest piece in your collection? Size or big as in famous? Size: two Massimo Vitalis. Although I have a difficult time buying photographs, I own some by Jill Krementz and an original photograph from Shackleton’s 19141917 voyage, Endurance Stuck in Ice. Do you have sentimental favorites in the collection?
Julia “Jules” Kirby (Photo © Thomas D. Mangelsen)
a collector but as an artist agent. y own singularly operated agency nds with my affluent friends.”
earning about Western Art. Something I can ng my first two true western paintings by R. Tom breathtaking. I go out weekly with Thomas D. He has made it incredibly apparent how special any of that emotion he captures.
ager to learn and appreciate. And so the
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e artist’s representation. Auction these days from boom. I’ve been fortunate enough to be educated e sales and such.
The ones handed down to me. My grandmother was a sculptress who befriended Matisse and others. When she passed, I opened a desk filer to find holiday cards he had personally made for her. Just incredible, really. Which piece attracts the most attention? The Gustav Klimts. Anyone who has been to a fine art museum can recognize even his sketches. I’m obsessed with his naughty artistry and believe he’s influenced myself in some of my hobby of sketching. Is there one that got away? There was a print my sister picked up for me somewhere of a girl sucking on a hot pink pop. I had it framed so perfectly in gold. I’ve never found anything that connected to my being as much. I moved to Europe, and it tragically disappeared.
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WWJD? BROWN FOR ARTIST Jennifer Young, Gallery Assistant, Yellow Peril Gallery
Dusk is located near Federal Hill in Olneyville, around the corner from the Steel Yard and next door to Ajay Land, one of Providence’s raw mills used for artist studios. On Tuesday nights, Dusk is the Campaign Headquarters for the Providence Art Campaign, spearheaded by Tom West. The venue is a dynamic place to gather at the wrap around bar and talk to friends (or strangers) and hear about plans and ambitions in Providence’s art and small business community. The space showcases works from local artists, including jewelry designers, videographers and DJs.
The vision of the Providence Artist 2012 Campaign is for artists to compete, debate, and smear campaign against one another to be elected Artist by the people of Providence. “Their approach will mimic that of the average campaigning politician, but focusing on creativity, ingenuity and a dose of subversion,” declares Tom. It is a satirical game of shameless selfpromotion and a clever way to stimulate our Creative Capitol and bring our artists out of hiding. In each subsequent issue of COLLECT, we will update you on the whereabouts of debate events as well as feature one of the Artists-in-running. This month we will hear the ideals and values of Jess Brown, a woman of many trades and talents. You can view her work at jessbrowndesign.com. What is your campaign slogan, and why should we care?
WWJD? What would Jess Do? I picked that as a play off of the popular 90s saying “What would Jesus Do?” Not to compare myself with the one who could walk on water, but it just seemed right. Since through this campaign, we trying to make change and bring awareness, every time my constituents hear about an issue happening in the city, I want them to ask, “What would Jess Do?” Just know that I would do it better. Plus, I can buy a lot of the bracelets wholesale on the cheap and use them for campaign SWAG. What bothers you about the Providence Art scene, and why did you choose to live and make art here? I think the lack of an art scene and the lack of support for the city itself is what pisses me off. When I talk to artists and designers here, we have some really awesome and sound ideas about how to make this place run better, but it always seems to fall on deaf ears. They’ll give 78 f-ing million dollars to a rich douche who doesn’t even live here, but won’t support us (I’m not talking about you, RISCA). Instead, they could have taken a chance on the people who live here and are actually invested in this town by giving out
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WWJD? What would Jess Do?
“Why do I live here and make art here? I got stuck here after school and haven’t left yet. I’m just now starting to come on the scene and make some art. Watch out y’all.” at least 1,000 micro loans of $78,000 for that same amount of money. Seriously. But they don’t think that way, now do they. What inspires you to make art? Mostly the need to work out my angst in a nondestructive way. Also, the movement and pulse of the city heavily influence my work. Seeing the rad stuff that flows out of places like the Steel Yard, RISD, and AS220 makes me want to stay on my toes. Or maybe it’s my desire to be a part of the “cool kids.” If you were rich and powerful like Bill Gates or Oprah, what single thing would change about The Creative Capitol? Shit, we don’t have enough paper or time. I’d either change the name “The Creative Capitol” (since I feel insulted
every time I hear it) or really throw my money behind trying to make us live up to the name. I’d like to get rid of all the politicians who waste my time and money and get a fresh start- one’s that would move us into this century. I’d subsidize housing for recent grads and folks starting out, especially if they are trying to start business or really effect change in the city. We lose way too many brilliant minds because of the lack of opportunity. I’d make parking cheaper, and turn a lot of the pave areas into food truck courts. I (heart) delicious cheap cuisine. Providence – I mean Brownvidence – would look clean and poppy, like Austin or Montreal. Any artist with the “guts” to stand our and make some noise, feel free to contact westforartist@gmail.com.
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LA BELLE ET LE BÉTON Robert P. Stack, Curator, Yellow Peril Gallery
Boston City Hall, 2012, Digital Photograph, Viera Levitt
Brutalism, an architectural spin-off of modernism that gets its moniker from the French “béton brut” meaning “raw concrete,” remains as divisive a style today as during its heyday a half century ago. You either love it, or you hate it. Really hate it. In fact, numerous icons of the brutalism movement are currently under fire: vilified in the press and slated for destruction. This impassioned emotionalism is at the heart of Viera Levitt’s upcoming photography show at Hera Gallery in Wakefield, RI, entitled ‘Beauty in the Beast: Photography of Brutalist Architecture’. Returning from extensive journeys in South Africa, the famous architect Le Corbusier began experimenting with rougher, more “native” forms and surfaces, searching for a more honest solution to building problems. Starting with his 1930 Pavilion Suisse at the Cité Universitaire in Paris, he introduced daring concepts like articulated plans and exposed rough textured concrete. Le Corbusier would continue to explore and exploit such concepts in seminal works like his Unite d’Habitation in Marsailles. This new style, coined Brutalism, was often focused toward government and government-funded buildings, and was widely adapted in other countries like the UK and USA. It is these American
institutions that are the subject for Levitt’s series, focusing on the deep textures and bold repetitive geometries that characterize the style. Like a theoretical love child of Ezra Stoller and Diane Arbus, Levitt searches for the human beauty in the mocked and shunned faces of these disenfranchised structures. They may not be Hollywood pretty, but they have character. Strength. A different kind of beauty. One doesn’t have to be locked inside a castle against one’s will in order to find that the beast indeed possesses a human heart. ‘Beauty in the Beast’ runs at Hera Gallery in Wakefield, RI, from 28 July to 1 September 2012. Opening reception and artist talk is July 28 at 7PM.
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A portion of the sales from VISIBLE FORCE will be donated to RiverzEdge Art Projects, a social enterprise that provides talented underserved teens hands-on work experience in graphic design, digital photography, screenprinting and visual arts. RiverzEdge creates positive educational and economic outcomes for youth and their communities through artistic expression, disciplined effort and self-reliance. History RiverzEdge was founded by youth development professionals and community leaders concerned about the patterns of violence among disaffected youth. With help from Boston’s Artists for Humanity, RiverzEdge was established in 2002 in Woonsocket, RI — a city plagued by high teen pregnancy, adjudication and drop out rates, and a persistent cycle of poverty. We’ve grown from serving 5 youth in 2002, to over 200 in 2010. The Youth Participants come to us through referrals from social service agencies and school guidance counselors, word-of-mouth recommendations from friends, teachers and parents, and in response to job listings. Through our Arts & Business, Workforce Development, and summer Keep Woonsocket Beautiful programs, and our MobileStudio art classes, we directly serve over 300 youth and community members each year. The City Within the state of RI, Woonsocket has the highest rate of child abuse and neglect; the 2nd highest rate of births to teens; 54% of high school students are eligible for free and reduced lunch; only 44% took the SAT in 2007; and 67% of Woonsocket residents are considered low-income. Woonsocket also has a very high rate of youth with incarcerated parents. For more information about RiverzEdge, please visit riverzedgearts.org » 14
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Exquisite n Timeless n Natural Fabrics
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EVERYTHING IS FOR SALE Price List for Works of Art for Sale at VISIBLE FORCE
Expansion #1, 34” x 19 “x 19” (2012) $3,700, Rodrigo Nava
Expansions
‘Expanded’ Welded Steel Sculptures Various Sizes (2011 - 2012)
$2,500 $7,500
Explorations
Mixed Media Works on Paper Various Sizes (2011 - 2012)
$200 $500
Black Posters
Kozo (Moriki) Black Mino Washi Letterpress and Silkscreen (2012), Edition of 12
$10
White Posters
Kozo White Unryu Mino Washi Letterpress and Silkscreen (2012), Edition of 40
$5
If you are interested in purchasing any original works of art from VISIBILE FORCE, please contact V Souvannasane, Director, Yellow Peril Gallery, via e-mail at van@yellowperilgallery.com or GSM (+1.917.655.1497) to set up an appointment for a private viewing.
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RODRIGO NAVA
VISIBLE FORCE | 19 JULY - 12 AUGUST
JAMES STARKMAN 16 AUGUST - 9 SEPT
NAOMI NATALIECAMPBELL GRUPPUSO 13 SEPT 14 JUNE - 14 15 OCT JULY
QUINTÍN RIVERA-TORO 18 OCT - 11 NOV
60 Valley St #5 | Providence, RI yellowperilgallery.com