Seher Shah, Mammoth: Aerial Lanscape proposals. Photograph by Randhir Singh.
 

  1. Seher Shah, Mammoth: Aerial Lanscape proposals. Photograph by Randhir Singh.

  2. Caitlin Masley, Symmetric Tectonics2 (ode to patch dynamics), 2013. Site-specific installation, The James Gallery. Pigment acrylics, spray paint, and whiteout with hand-cut foamcore. Photo: Carrie Kinsella.

  3. Shoshana Dentz, Within without 25, 2011. Oil, wax, and pencil on canvas. Photo: Frank Oudeman.

  4. Caitlin Masley, Symmetric Tectonics2 (ode to patch dynamics), 2013. Site-specific installation, The James Gallery. Pigment acrylics, spray paint, and whiteout with hand-cut foamcore. Photo: Carrie Kinsella.

  5. Seher Shah installting Object Repetition (line to distance), 2013. 1000 cast hydrocal objects with ink. Photo: James Gallery.

  6. Shoshana Dentz, Within without III 04, 2010-12. Oil, wax, and pencil on canvas. Photo: Frank Oudeman.

  7. Caitlin Masley, Symmetric Tectonics2 (ode to patch dynamics), 2013. Site-specific installation, The James Gallery. Pigment acrylics, spray paint, and whiteout with hand-cut foamcore. Photo: Carrie Kinsella.

  8. Caitlin Masley, Symmetric Tectonics2 (ode to patch dynamics), 2013. Site-specific installation, The James Gallery. Pigment acrylics, spray paint, and whiteout with hand-cut foamcore. Photo: Carrie Kinsella.

  9. Shoshana Dentz, Within without II 02, 2011. Oil, wax, and pencil on canvas. Photo: Frank Oudeman.

  10. Shoshana Dentz, Within without 24, 2011. Oil, wax, and pencil on canvas. Photo: Frank Oudeman.

Aug 14 - Oct 19, 2013 | Exhibition

Observed Ratios


What do the visual principles of modernism look like today in the hands of contemporary artists? Observed Ratios presents three contemporary New York artists: Shoshana DentzCaitlin Masley, and Seher Shah, whose practices are grounded in drawing but extend to diverse media of painting, drawing, installation, sculpture, and photography. Their engagement with modernist forms and visual vocabulary, inflected with their own individual histories and interests, produce invigorated and updated responses to modern inquiries. In the exhibition Observed Ratios, whether positioned inside or outside at eye level, hovering above something much larger or smaller than oneself, or enveloped in relation to an indeterminate perspective, the artists’ and the viewers’ attention becomes focused on the act of looking in real space.

 

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