Tuesday, November 27, 2007

Devon Dikeou and Luke Murphy at artMovingProjects

4 documents citing the carbon dating procedure mounted on sintra with non-glare Plexiglas surface
Dimensions: 8 _” x 11”

Niney Carbon Dating, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 20” x 30”

La Boheme, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 30” x 20”
Hospital, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 20” x 30”

Niney Timeline, 2007
Acrylic on gessoed canvas
Dimensions variable

Wash Me, 2007
44 Gerber baby food jars, _ cap of Woolite, and 198 ounces of water containing the residue of washing Niney
displayed on Plexiglas shelves
Dimensions variable

Gabe Chicco

Still from the Longest Painting of Death

Luke Murphy installing

166 N.12th St, between Bedford and Berry Sts., Williamsburg (917-301-6680, 917-301-0306).
Subway: L to Bedford Avenue  Thurday -Sunday, 1pm - 6pm www.artmovingprojects.com artmovingprojects.blogspot.com

Opening 7-9 Saturday, December 1st - Feb. 10th 2008

Devon Dikeou

In her first one person show at artMovingProjects
Devon Dikeou shows the documentation of “Niney”, a child’s sweater made out of what she thought was lambs wool that she has gone to extreme lengths to keep in her immediate possession since childhood. Following in the tradition of Joseph Kosuth, John Baldessari, and Gorden Matta Clark she uses photography and text to augment the significance of this article of clothing. Notions of fragility, safety and comfort, collide with feelings of fear, vulnerability and voyeurism in the ongoing work that has seen earlier manifestations at Postmasters Gallery, and more recently at the Robin Rule Gallery. The installation will include photographs, documentation and paintings that cite a written timeline both sincere and hilarious that builds to form an absurd narrative of intimacy and taboo.


New Media Project Space

Luke Murphy

The Longest Painting of Death is a digital work that takes an image of Albert Pinkham Ryder’s “The Race Track” (Death on a Pale Horse c.1896), enlarges it to the painting’s original size of 27 3/4" x 35 1/8", stretches it digitally until it is one mile in length and then traverses it in 02:11:20 min, the average speed of the still fastest race horse, Secretariat. This piece is an extension of two “minimalist” works done almost ten years ago. The Mile Long Page and the Square Mile Page, both digital updates of Walter de Maria’s Vertical Kilometer, consist of a mile-long line of single black pixels and a square mile of black pixels respectively. In The Longest Painting of Death, Murphy stretches the painting to the length of a race track, “moving” along the track on the screen, thereby encouraging the viewer to switch from the side of the course to the perspective of Death watching the landscape as it passes by.


by appointment: Dec. 21 - Jan. 13 closed Jan. 18 - 20

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