Sunday, April 17, 2016

SEVEN-ish, Seriously Funny

Seriously Funny

191 North 14th Street, Brooklyn, NY 11211

29 April – 22 May, 2016
Opening Reception: Friday, 29 April. 7-9pm

Martha Wilson, "Bear in mind/Bare in hind," 2014, C-Print face mounted to plexi, 48 x 96 inches. Edition of 5. Photos and makeup by Bill Westmoreland. Courtesy the artist and PP•O•W

Eleanor Antin, “Constructing Helen” (from Helen’s Odyssey), 2007, Chromogenic print, 68 x 119 inches. Edition 1 of 5. Courtesy the artist and Ronald Feldman Fine Arts

Michael Smith, "OYMA (Outstanding Young Men of America)," 1996, Video, Duration: 9:23 minutes. Courtesy the artist and Greene Naftali

Jen Catron & Paul Outlaw, "Spaghetti Machine Monument (we considered making an elevated room that addresses belief and our current existential crisis but then decided what’s the point let’s just make this giant moving spaghetti sculpture)," 2016, Mixed media mechanized sculpture, Dimensions variable. Courtesy Postmasters

Shannon Plumb, "Paper Collection," Video, Duration: 9:23 minutes. Courtesy Pierogi

David Shrigley, Untitled, 2015, Acrylic on paper, 60 3/8 x 43.75 inches. Courtesy Anton Kern

Gary Panter, "Thermoplastic Resin," 2007, Acrylic on canvas, 23.75 x 34.5 inches. Courtesy Fredericks & Freiser

Installation views

ELEANOR ANTIN (Ronald Feldman Fine Arts)
  •  JEN CATRON & PAUL OUTLAW (Postmasters)
GARY PANTER (Fredericks & Freiser)  
DAVID SHRIGLEY (Anton Kern Gallery)
  •  MICHAEL SMITH (Greene Naftali)

We are pleased to announce the fifth edition of SEVEN in Brooklyn, a collaborative exhibition at The BOILER including seven galleries, each presenting work by one artist. The theme of SEVEN-ish, Seriously Funny, is humor in art and taking humor seriously. The exhibition will run from April 29th through May 22nd, 2016, with an opening reception on Friday, April 29th, 6–9pm. There will be a live performance during the opening reception at 8pm by special guest Sean J. Patrick Carney of Bruce High Quality Foundation University.

First you laugh. Then you wonder why. This is the one-two punch of humor in art today, where laughter is nervous but never cheap, and comic turns are but the gateway to a world of doubt. Indeed, funny art comes so loaded with piercing ironies, sudden surrealities, and deadpan expressions of horror or grief that we cannot be sure if it is even okay to laugh.
—Linda Yablonsky

It is OK to laugh.

Remember, the jester was the only one who could speak hard truths to the king. But lately the courtiers of art have been very serious. There seems to be a critical consensus that humor in art does not get you very far. The extraordinary recent show of Fischli and Weiss at the Guggenheim delivered major existential truths, and yet was mostly considered merely funny. Like John Oliver’s hilarious essays about real issues that are often deeper and better researched than standard news broadcasts, the veil of humor enveloping reality can be employed to stunning effects. It can deliver wisdom and revelation. For many artists the lure of humor, irony, satire, goofiness, and sarcasm is irresistible.

SEVEN-ish will present the jokers, the tricksters, the comedians, the cartoonists, and the just very, very funny serious artists.

Even the gods love jokes.
– Plato

If I had no sense of humor, I would long ago have committed suicide.
– Mahatma Gandhi

One tequila, two tequila, three tequila, floor.
– George Carlin

Launched in Miami in 2010 as an art fair alternative by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. An emphasis on cooperation rather than competition is a founding principle of SEVEN that puts the art viewing experience ahead of other considerations. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations. Participating galleries in this edition of SEVEN are Anton Kern Gallery, Fredericks & Freiser, Greene Naftali, PIEROGI, Postmasters, P•P•O•W, and Ronald Feldman Fine Arts, with a live performance at the opening reception by special guest Sean J. Patrick Carney of Bruce High Quality Foundation and University. This edition of SEVEN is organized by PIEROGI and Postmasters.

Entry to SEVEN is free. The opening reception is Friday, April 29th from 6 – 9 pm, with a live performance at 8pm.

Friday, April 29 (Opening Reception):  6–9 pm (live performance at 8pm)
Saturday — Sunday April 30 – May 1: Noon – 6pm
Thursday – Sunday May 5 – 8: Noon – 6pm
Saturday — Sunday May 14 – 15: Noon – 6pm
Saturday — Sunday May 21–22: Noon – 6pm
And by appointment

Below is a preview of featured artists:
ELEANOR ANTIN (Ronald Feldman Fine Arts)
Eleanor Antin (b. 1935, NYC) studied acting at the Tamara Daykarhanova School for the Stage, New York and creative writing at the City College of New York in the mid-1950s. Antin started her career as a painter and got into contact with Fluxus art in the early 1960s in New York. She didn’t want to become a member of Fluxus, but attended their activities and exhibitions and shared its anarchic attitude. Since then, Antin started to work in film, video, photography, and performance. She moved to Southern California in 1969 and has been a Professor of Visual Arts at the University of California, San Diego since 1975. Antin has a long career as a feminist performance and multimedia artist. She portrayed herself in various characters as a king, ballerina, or nurse, completed large-scale photographic works based on Greek and Roman History and Mythology. Her work includes multiple facets, like the role of women in society, issues of identity and history, whether of ancient Rome, the Crimean War or her own Jewish heritage and Yiddish culture. She has had numerous exhibitions including the Museum of Modern Art, the Whitney Museum of American Art, and the Museum of Contemporary Art Chicago, and has also had a major retrospective at the Los Angeles County Museum of Art in 1999. In 2007, she participated in Documenta 12.

Sean J. Patrick Carney (b. 1982, Michigan) is a visual artist, writer and comedian based in Brooklyn, NY. For the opening night of SEVEN-ish he will present John Doe Has the Upper Hand, a site-specific, multimedia comedy performance. Movies like The Boiler Room and Seven will naturally be addressed.
Carney is the founder of Social Malpractice Publishing and a member of the Bruce High Quality Foundation University. His writings appear frequently in Art in America and VICE.

Catron (b. 1984, Illinois) and Outlaw (b. 1980, Alabama) create elaborate multimedia installations that take the experience economy to the next level. “Anyone who’s seen their work, has zero chance of forgetting it” (ArtFCity). For SEVEN-ish Catron and Outlaw have created Spaghetti Machine Monument, an ultimate monument of 2016, marking a momentous year (so far) in humanity's collective achievements in politics, social justice, and art. Monumental art has long had a history of recognizing personal and cumulative accomplishments and after deep reflection of our cultural and spiritual achievements, the artists have responded with the creation of an absurd continuous machine for tossing oversized spaghetti. Yeah. This Brooklyn-based duo has been featured in The New York Times, The Wall Street Journal, NY Mag, Vogue, Art in America and online publications such as Paper Mag, Art21, artnet, Blouin Artinfo, Hyperallergic, Art F City, Flavorwire, Gothamist, and Huffington Post. They also have been featured on Chopped and Eat Street TV of the Food Network.

GARY PANTER (Fredericks & Freiser)
Fredericks & Freiser will present works on paper by Gary Panter (b. 1950, Oklahoma), which depict an array of loony (to use Panter’s term) characters in uncanny fields of abstraction. Monsters, superheroes, and sailors partake in actions suggesting a goofy narrative, though Panter is sure not to reveal their intent, and to leave all questions unanswered. Panter, known in underground and alternative art scenes in both Los Angeles and New York since the seventies, has never let his ties to comics, music, and mythical humor stray from his work. His recent works simultaneously employ his signature cartoon-like drawing style and investigate formal implications in abstract painting with psychedelic and often absurd space and color. Panter’s work has been exhibited at the Aldrich Contemporary Art Museum (Ridgefield, CT), Printed Matter (NY, NY), the Phoenix Museum of Art (Phoenix, AZ), and the Jewish Museum (NY, NY) among others, and his work was included in the Fifth International Site Santa Fe Biennial, curated by Robert Storr. He has authored numerous graphic novels, and has been represented by Fredericks & Freiser since 2011.

Shannon Plumb's (b. 1970, New York) cinematic studies of life's various roles and characters explore the complexities embedded in the ordinary and extraordinary. From the humble persona of a new mother to iconic figures from the silver screen, Plumb portrays these characters with zest and humor. Inspired by the curious spirit of slapstick comedy and the physical humor of silent film legends such as Buster Keaton and Charlie Chaplin, Plumb employs a low-fi aesthetic by using Super-8 film, stationary camera shots, long takes and hand-made props and costumes. Plumb is a one-woman show starring as all characters and acting as the creative force behind her films. The low quality production of the films and her elastic expressiveness as an actress adds to the charm of her work and pushes it beyond its obvious predecessors and influences.

Plumb lives and works in Brooklyn, New York. Her videos and films have been presented at the Museum of Modern Art, The IFC Center, The Kitchen (all NY, NY), the Brooklyn Museum (Brooklyn, NY), The Aldrich Contemporary Art Museum (Ridgefield, CT), the Berlin Film Festival (Berlin), BFI Nation Film Theatre (London), and The Academia Gallery of the National Art Academy (Sofia, Bulgaria), among others. Her work is included in the Olbricht Collection (Berlin) and the Museum of Modern Art (NY, NY) permanent collections. Her feature film Towheads was screened at New Directors at MoMA and Lincoln Center and Independent Film Festival Rotterdam.

DAVID SHRIGLEY (Anton Kern Gallery)  
David Shrigley (b. 1968, UK) is an artist based in Brighton, UK. Shrigley’s conceptual, idea-based art is a never-ending stream of curious propositions and eccentric moral dilemmas. With acerbic humor and strangely profound insights, the artist lays bare the ambiguities, comedy and pathos of everyday life. According to the artist, most aspects of life have the potential to be "ridiculous, absurd, awkward, funny and meaningless all at once.” His work has been widely exhibited internationally, including recent solo exhibitions at Two Rooms Gallery (Auckland, New Zealand), The National Gallery of Victoria (Melbourne, Australia), and The Hayward Gallery (London). Shrigley was nominated for the Turner Prize in 2013 and received the Trafalgar Square Fourth Plinth commission, a public-art project to be realized in 2016. His work has been reviewed in BLOUIN Artinfo, Art in America, Time Out New York, The New Yorker, and The Guardian, among others.

MICHAEL SMITH (Greene Naftali)  
Michael Smith (b. 1951, Chicago, IL) first performed publicly in his own studio in 1975, which he called Comedy Hour. Educated in painting, Smith found himself more interested in entertaining than in image-making or the avant-garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his na├»ve characters, such as “Mike” and “Baby Ikki.” Smith continuously fuses commentary on the art world and challenges that plague the quintessential Everyman, such as failure, loneliness, and losing your wallet. Smith’s videos tend to document, with awkward hilarity, his characters’ inability to perform familiar tasks or to simply get by.

Smith’s work has been exhibited extensively in the US and internationally, including exhibitions and performances at The Tate Modern (London), The Metropolitan Museum of Art, New Museum, The Museum of Modern Art (all NY, NY), The Centre Pompidou (Paris, France), as well as the 2008 Whitney Biennial (NY, NY). Smith has received numerous awards including the Guggenheim Foundation Fellowship, several National Endowment for the Arts Fellowships, and three New York Foundation for the Arts Fellowships.

Since the early 1970s, Martha Wilson (b. 1947) has created conceptually based performances, videos, and photo/text compositions that grapple with constructions and manifestations of feminism, identity, and the way we construct and present ourselves. Frequently taking herself as subject, Wilson creates transgressive, avant-garde works that address political and social issues, teasing out complexity and nuance by infusing her work with playful gestures and humorous juxtapositions. Presenting a new body of work, which draws a clear line to her work from the 70’s through today, her work and attitude has evolved from what Wilson describes as “the concerns of a young woman to having fun with being an old lady,” and sees her turning an eye to the way in which the public gaze projects social values onto women as they grow older. “I’m looking at age and the status of women,” Wilson says, “but we are still in the same absurd state that we were in in the 70s... This is my current response to the predicament that we find ourselves in when born female.” As Founding Director of Franklin Furnace Archive, Inc., Wilson was described by The New York Times critic Holland Cotter in 2008 as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 2008, she had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74. In 2009, Martha Wilson: Staging the Self traveled under the Independent Curators International; and in 2011, ICI published the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces. Martha Wilson joined P.P.O.W Gallery in 2011 and mounted a solo exhibition, I have become my own worst fear, that September. Her second solo exhibition at P.P.O.W, Mona/Marcel/Marge, opened in October of 2015.

For more information, please email us at or call The Boiler / Pierogi at 646.429.9073.
For press inquiries, please contact Susan Swenson at or

Magdalena Sawon

VIEW MAP- The Boiler 191 N. 14th St. Brooklyn, NY

Noon – 6pm
Saturday – Sunday, 30 April – 1 May
Thursday – Sunday, 5 – 8 May
Saturday – Sunday, 14 – 15 May
Saturday – Sunday, 21 – 22 May

Wednesday, April 22, 2015

SEVEN: Anonymity, no longer an option

Anonymity, no longer an option

191 North 14th Street, Brooklyn, NY 11211

8 – 17 May, 2015
Opening Reception: 8 May. 6-9pm

Katarzyna KOZYRA (Postmasters) • Mark LOMBARDI (Pierogi) •
Trevor PAGLEN (Metro Pictures) • Suzanne TREISTER (P•P•O•W) •
Mark TRIBE (Momenta Art) •  Sam VAN AKEN (Ronald Feldman Fine Arts) •
Addie WAGENKNECHT (bitforms gallery) 

With special guest project:
The Prison Ship Martyr’s Monument 2.0, AKA The Snowden Statue, by Anonymous

SEVEN is proud to announce that The Snowden Statue now released from NYPD’s custody will be shown as a part of SEVEN at The Boiler exhibition Anonymity, no longer an option.

The artists are pleased The Prison Ship Martyr’s Monument 2.0, AKA The Snowden Statue is back in public view and hope it continues to inspire discussions about surveillance, patriotism, and what sacrifices must be made to maintain the freedoms that are the cornerstones of a free society.

Press Release

We are pleased to announce SEVEN, a collaborative exhibition at The Boiler including seven galleries, each presenting work by one artist. The exhibition will run from May 8—17, 2015 with an opening reception May 8th, 6–9pm.

“Anonymity, no longer an option” is the title of the 2015 edition of SEVEN. With the prevailing ubiquity of surveillance, the notion of anonymity is becoming a distant dream. With the use of technology, people everywhere, including our own government, are able to obtain details on anyone anywhere. All are vulnerable to this intrusion: sometimes willingly divulging personal information, as with Facebook and other social media platforms, smart phones, and other location devices; and at other times unwittingly as with the NSA, where we unknowingly give up personal information and privacy, in premise for our personal and national security. Edward Snowden’s actions in divulging information about these programs revealed that we are more vulnerable than we had previously thought. In this exhibition, the notion of surveillance is examined in various ways by seven artists.

Launched in 2010 by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. An emphasis on cooperation rather than competition is a founding principle of SEVEN that puts the art viewing experience ahead of other considerations. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations. Participating galleries in this edition of SEVEN are bitforms gallery, Metro Pictures, Momenta Art, PIEROGI, Postmasters, P•P•O•W, and Ronald Feldman Fine Arts.

Entry to SEVEN is free. The opening reception is Friday, May 8th from 6 – 9 pm.

Below is a preview of featured artists:

Postmasters will present a series of newly released photographs from the Polish artist Katarzyna Kozyra’s important early video installation “Women’s Bathhouse” (1997).  The project was shot at a public bathhouse in Budapest, the first in a series of works made using a hidden camera. Kozyra recorded the scenes at the bathhouse as women, relaxed and unaware of the camera, enjoy their private moments. “Women’s Bathhouse,” whose radicality reverberates so strongly in today’s surveillance climate, references classical works of art like Rembrandt’s “Suzanna and the Elders” and Ingres’s “The Turkish Bath.” Which artists were more invasive? The question remains.

Mark Lombardi’s graph-like drawings on paper lay bare connections of power, politics, and money within corporations and banks, and between individuals and such entities. His first drawings in this “Narrative Structures” series date from 1994, in a pre-internet era before mass (digital and video) surveillance became ubiquitous. He gathered information the old-fashioned way, by reading syndicated news articles and books on the subjects involved, and worked to expose connections and relationships — otherwise hidden in a multitude of drab texts — through a visual medium making them immediately and viscerally discernable. His relationship to surveillance is to an earlier meaning of the term: “the act of carefully watching someone or something…” through thorough research of his subjects.

TREVOR PAGLEN (Metro Pictures)
In his photographic work, Paglen seeks to make visible the typically invisible apparatus of covert government activities at black sites and, most recently, surveillance systems. Physical objects, people, and technology exist that implement these activities but they are difficult to visualize since the public is rarely, if ever, allowed to see them. Paglen’s photographs are “…useless as evidence, for the most part, but at the same time they’re a way of organizing your attention.”

“Paglen [has] said that blurriness serves both an aesthetic and an ‘allegorical’ function. It makes his images more arresting while providing a metaphor for the difficulty of uncovering the truth in an era when so much government activity is covert.” (Weiner, Jonah. The New Yorker) These often indistinct images can appear simply as clouds or other atmospheric activity in the sky but are meant to suggest “a kind of abstraction that’s associated with photographing the sky going back at least to someone like Stieglitz. It’s about taking what might be a familiar image and reinscribing it with something else.” (Paglen) On view will be “Contrails (R-4804N Restricted Airspace, NV)” and “Untitled (Gorgon Stare Surveillance Blimp).”

P.P.O.W is pleased to present Suzanne Treister’s “Post Surveillance Art” series of poster works that navigate the post-Snowden Age. Primarily a painter through the 1980s, Treister was a pioneer in the digital/new media/web based fields from the beginning of the 1990s, developing fictional worlds and international collaborative organizations. The term “Post Surveillance Art” was coined by Treister on January 9, 2014.

…what has changed for me personally, post Snowden, is not an awareness of our new condition, but the knowledge that now almost everybody else knows…something which was clear as day if you kept your eyes open, did a bit of research… it’s restful no longer being called a conspiracy theorist…I can make this new work feeling its context may now be accessible to a broader audience, even a mainstream artworld audience, those who took little notice of the early issues of the politics of the net, net art and all that parallel, mostly invisible and often misrepresented art and theoretical history of the 1990s, and are now seeing internet related art as if for the first time in the form of the new market driven and apolitical, ‘Post-Internet Art’ movement… Dear all, this work is for you, it can be your new pinup…’sharing’ does not have to mean giving all your personal data to government security agencies via social media for free…

MARK TRIBE (Momenta Art)
Mark Tribe’s “Colusa” is an aerial landscape photograph from his “Plein Air” series. First exhibited at the Corcoran Gallery of Art in 2014, these shaped UV prints depict an edenic virtual world in which the boundaries between reality and simulation — and between representation and abstraction — have begun to blur. Landscape photography is as much about projection as it is about representation. The camera captures images, but it also projects power: not only the power to see and to discover, but also the power to picture the land, to investigate the story of its past, and to imagine its future. First made from balloons in the mid-19th century, aerial photographs are the archetypal form of surveillance. We are now living in a golden age of aerial imaging in which the patient gaze of satellites and drones never ceases to watch over us. Tribe’s work interrogates and reframes the ways in which the seductive power of landscape images has been used to defend geopolitical interests and expand territories. “Colusa” is a new kind of photograph that pictures the world without a camera. It is a ‘data image’: a picture generated by software using topographical data. It represents a real place (a wetland in Colusa county, California called Sycamore Slough), but it is in fact a simulation. Surveillance is increasingly data-driven, and new kinds of images are emerging as the real and the virtual converge.

ADDIE WAGENKNECHT (bitforms gallery)
bitforms gallery will present two installations by Addie Wagenknecht, an American artist based in Austria who builds objects that contemplate power, beauty and networked consciousness. Playing with the contemporary anxieties of post-Snowden information culture, she investigates the cultural connection between technology and social interaction. “Kilohydra 2” is a wall-mounted sculpture that intercepts and logs anonymous data captured from surrounding wifi signals. Part of the series “Data and Dragons,” it features an assembly of custom printed circuit boards and Ethernet cabling. The work is dark and austere, manifesting “the cloud,” social networks, data, leaks, and that which forms social capital into a single object. Passively interactive, its behavior is driven by custom hardware and packet sniffers, which capture all the live data passing through the area. The information is then visualized via surface mounted LEDs, through a series of blinking patterns.

In “-r-xr-xr-x,” Wagenknecht applies gold leaf to a pair of closed-circuit television cameras. The readymade video system is disabled, however, which transforms the function of this object into a trophy, rather than a tool. It’s ostentatious adornment draws attention to this presence, symbolizing the structures of control, and the network of permissions that are allowed to specific users and groups — be they security guards, art world insiders, or simply persons opening a file. Wagenknecht’s ‘dummy cameras’ merely appear to be engaged and functioning, as indicated by the flashing of red lights that are battery-powered. “-r-xr-xr-x” evokes safety and voyeurism, as well as the authoritarian gaze of an exclusive viewer, as it transforms an ubiquitous icon of surveillance, the CCTV.

SAM VAN AKEN (Ronald Feldman Fine Arts)
“Myshkin’s Idiot Light” attempts to create auras, more specifically the hallucinatory perceptual disturbance known as scintillating scotoma that occur before a change in mental state. Described by Dostoevsky’s character Prince Myshkin in his book, The Idiot, they are the “dazzling light” that induces “sweet bliss” and “inconceivable joy.” Appearing here as blinking lights that flash at the same rate as the synapsis in the brain, they create afterimages and blind spots, the noise, the sweet bliss of forgetting that interrupts perception, observation, surveillance. (Please note: This work features flickering light effects that might trigger reactions in people with seizure disorders.)

Friday, May 8 (Opening Reception):  6–9 pm
Saturday — Sunday May 9 — 10: Noon – 6pm
Wednesday – Sunday May 13 – 17: Noon – 6pm
And by appointment

VIEW MAP- The Boiler 191 N. 14th St. Brooklyn, NY

For press inquiries, please contact Susan Swenson at
Mark Lombardi (PIEROGI), “World Finance Corporation and Associates c. 1970-84, Miami-Ajman-Bogota-Caracas (7th version),” 1999, Graphite on paper, 60 x 78 inches

Katarzyna Kozyra (Postmasters), "Women's Bathhouse," 1997/2015, Color photograph, 30 x 40 cm, 
Ed. of 5 + AP

Katarzyna Kozyra (Postmasters), "Women's Bathhouse," 1997/2015, Color photograph, 30 x 40 cm, 
Ed. of 5 + AP

Trevor Paglen (Metro Pictures), Contrails (R-4808N Restricted Airspace, NV), 2012, C-print, 48 x 60 inches, 
Ed. 1 of 5 + 2AP

 Trevor Paglen (Metro Pictures), Untitled (Gorgon Stare Surveillance Blimp), 2012, C-print, 48 x 60 inches, 
Ed. 1 of 5 + 2AP
Sam Van Aken (Ronald Feldman Fine Arts), “Myshkin’s Idiot Light,” 2015, Mixed media, 96 inches diameter, Edition 1 of 3. Photo credit: Casey Dorobek

Suzanne Treister (P•P•O•W), Post Surveillance Art, 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Suzanne Treister (P•P•O•W), "NSA on Drugs" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Suzanne Treister (P•P•O•W), "Tunnel of Love" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Suzanne Treister (P•P•O•W), "NSA Sex Bomb" from "Post Surveillance Art," 2014, 20 Archival giclee prints on Hahnemuhle Bamboo paper, 11.75 x 16.5 inches each, Ed. 2 of 25

Mark Tribe (Momenta Art), Colusa, 2014, UV Print on Dibond, Ed. 2 of 3

Addie Wagenknecht (bitforms gallery), Kilohydra 2, 2015, Custom designed PCB boards, ethernet patch cables, 80/20 aluminum, 31.5 x 39.25 inches
Photo credit: John Berens

Addie Wagenknecht (bitforms gallery)-r-rx-rx-x, 2014, Two surveillance cameras, gold leaf, Installation dimensions variable, 10 x 5.5 x 18.5 inches each
Photo credit: John Berens

Installation view of SEVEN: Anonymity, no longer an option

Installation view of SEVEN: Anonymity, no longer an option

Installation view of SEVEN: Anonymity, no longer an option

Installation view of SEVEN: Anonymity, no longer an option