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Black & White Gallery / Project Space: ALICIA ROSS: HOT MESS
DENNIS MAHER: END WALL
- 22 Oct 2009 to 21 Nov 2010

Current Exhibition


22 Oct 2009 to 21 Nov 2010
Gallery hours: Friday - Monday 12 - 6 pm
Black & White Gallery / Project Space
483 Driggs Avenue
Brooklyn
NY 11211
New York, NY
New York
North America
p: 1 (718) 599-8775
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w: www.blackandwhiteartgallery.com











ALICIA ROSS - images left to right from top:
Phrenology Studies of Miley Cyrus, Anna Nicole, Mackenzie Phillips, Lady Gaga,
Lindsay Lohan, Kendra Wilkinson, 2010 , each 11 x 14 in oval, cross-stitch on cotton
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Previous exhibitions - Chelsea
Previous exhibitions - Brooklyn

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Artists in this exhibition: ALICIA ROSS, DENNIS MAHER


ALICIA ROSS: HOT MESS

October 22 - November 21, 2010

Opening Reception:
Friday, October 22, 6-9pm

Black & White Gallery, Brooklyn, NY is proud to present Hot Mess by Alicia Ross, the artist’s second solo exhibition at the gallery.

In Hot Mess, Alicia Ross explores the mechanism of the consensual production of symbolic values. She passionately tackles difficult subject matter and taboos within society and presents them as naked truth. The works’ often provocative appearances highlight the artist's ongoing exploration of ideas surrounding conflicting views of feminine identity in the contemporary society and the ubiquitous virtuous/voracious societal impulses towards the female form. Ross appropriates images from online media sources and digitally translates them into cross-stitched constructions, using the sewing machine as a drawing tool. The finished pieces reflect a fusion between hand-made traditions and digital aesthetics.

The exhibition centers around the series Phrenology Studies (2010), a group of 14 abstracted cross-stitched head studies of media-made female celebrities.The series was inspired by the basic theory and aestheticts of the debunked pseudoscience of phrenology which associated the shape and look of one's skull with the person's moral character —“reading” the surface of the head to determine personality, morality or character and illustrating with a map of the head. All portraits are appropriated from online news sources depicting various celebrity women. These women, many household names, reflect society's finicky praise of some who seemingly stray from societal norms while condemning others for similar behavior. Juxtapositions astutely point out these inconsistencies like the Octomom, Michelle Duggar and Kate Gosselin. Moreover, several head studies embody the madonna/whore conflict, which has been so prevalent in other works by Ross.

The exhibition also includes other works, such as Motherboard_11 (Down Boy) (2010), Philosophy Devouring Uranus, (2009) and Motherboard_8 (2008) with some of the figures remidiated from pornography sites, others appropriated from sites that display famous works of art and fashion websites.

Over the last decade, Alicia Ross has been focusing her artistic practice on questioning the public dissection of female roles by the media and society at large. Her work has evolved to encompass various facets of female identity using photography, fiber, video, and installation. Raised in a suburb of Cleveland, Ohio, Ross now splits her time between Ohio and Texas after receiving her MFA from Rochester Institute of Technology. Ross's solo exhibition Sacred_Profane debuted at Black & White Gallery in 2008, receiving New York Magazine's Critics' Pick and favorable reviews in Flash Art Magazine and The Village Voice. Most recently, an interview with Ross was featured on the blog of the PBS Documentary Series Art:21.



DENNIS MAHER: END WALL (site-specific installation) / BLACK & WHITE PROJECT SPACE


Maher has transformed the rear outdoor project space into one of his amalgams of urban refuse revealing the anatomy of all sorts of demolitions: both fictional and real. This is an investigation of the afterlives of the neglected and the discarded, disclosing lost and found itineraries, heaped and piled trajectories, aggregate structural possibilities, and systems of organized disuse. Collected debris becomes the site for an archaeology of the post-consumed, and the foundations of wasted architectures, salvaged and restored.

End Wall is supported in part with funds from the Strategic Opportunity Stipends Program through New York Foundation for the Arts and New York State Council on the Arts.






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