Colm Dillane, GIF for “Mercury Rising”, music and lyrics by theMIND, video, 4:31 minutes.
“No Money, No Honey”
January 24 – March 13, 2016
(a group exhibition in 2 parts)
Part I: Colm Dillane & theMIND
Part II: Colm Dillane & theMIND, Vincent Katz, Sue Kwon, Peggy Preheim, Martha Rosler, & Sally Webster
Jane Kim is pleased to present “No Money, No Honey,” a multi-part exhibition exploring how survival and pleasure are enmeshed in economic realities. The exhibition includes works on paper, claymation video, sculpture, photography, painting and wall poetry. The show addresses general notions of being out of luck, particularly examining how money permeates through various societal structures and daily experiences. The term honey thus denotes the pleasures, both material and metaphysical, that are inherently associated with wealth. When viewed together, the artworks examine how, in contemporary society, money is the means to honey and raises the following questions: in what way is our life shaped by consumerism, and are money and honey intrinsically linked in our society? The six-week exhibition will present video and sculpture by Colm Dillane and theMIND on January 24th, and artworks by Vincent Katz, Sue Kwon, Peggy Preheim, Martha Rosler, and Sally Webster on February 13th.
Sue Kwon and Vincent Katz explore money as it relates to class, status, leisure and labor; they are interested in the visual manifestations of capital in daily life. Kwon, in documentary style photographs, along with Katz, whose poetry reaches inside the quotidian, embody the streets of the New York. Peggy Preheim’s works on paper and Martha Rosler’s photomontages underscore the systems that encourage us to consume, whether through physical pieces of currency or commercial advertisements. Finally, Sally Webster’s painting is an abstract exposé of the tension between the tangible and intangible, while Dillane and Wilder’s collaboration resounds with optimism: the song and accompanying video show how dreaming of a better future is within one’s possibility.
Colm Dillane’s installation and claymation music video for the debut of Chicago vocalist theMIND’s (real name Zarif Wilder) “Mercury Rising,” relates a surrealist modern romance about two kids who escape their realities and meet in the stars. Dillane’s installation is a depiction of the streets of Wilder’s youth in Chicago and Philadelphia, made of cardboard, paint and found objects. The video’s characters are made out of clay and hand-made clothes from the fabrics in Dillane’sKidSuper clothing line.
Vincent Katz’s poems are channels to introduce the reader to the energy and rituals of New York City. In his recent book Swimming Home, Katz records the constant navigation of distance and intimacy that one experience’s from taking the subway as in “On the Subway” to walking along the city’s streets in “What Vincent Saw on 30th Street”. In “The Openness (to Norma Cole),” the poet creates a visual dialogue within the gallery space as the handwritten phrases on the walls contrast with the photography, drawings, photomontages, and painting in the exhibition.
Sue Kwon presents black and white gelatin prints from her “Street Level” series (1987-2007), scenes of New York’s neighborhoods and communities from the Lower East Side to Harlem to Bed Stuy. She explores the scope of commonplace archetypes through portraiture. Alongside iconic hip-hop figures such as Biggie Smalls to the Wu-Tang Clan, she juxtaposes images of daily life such as children playing in Little Italy and young gang members celebrating Chinese New Year in Chinatown. Kwon’s subject is the spirit of the city, and her photographs raise a sense of nostalgia for the city’s once vibrant landscape, with a nod to earlier times and it’s important creative vitality.
Peggy Preheim’s three works on paper from her French franc note series were created in Paris, in 2001, a year before the Euro currency was introduced. Meticulously rendered graphite pencil drawings occupy the space of French franc notes n ormally reserved for watermarks. Taking inspiration from vintage photographs, Preheim’s images of people and children on currency engage in a conversation about history, an individual’s existence, and national and personal identities.
Martha Rosler presents two photomontages, “S, M, L, or Kayser Perma-Lift” and “Oil Slick,” from her iconic work, “Body Beautiful, or Beauty Knows No Pain” (1966-72). The series of thirty montages critiques the representation of women in art and advertising. The works shown here interrupt the passive process of viewing commercial images, confronting the notion that women’s bodies are objectified for co-modification and consumption.
Sally Webster’s “Untitled,” 2015 is a study of two extremes: the photorealistic depiction of a boat floating on a background with the vivid colors of abstract painting. “Untitled” marks a new body of work for Webster, whose paintings combine aspects from Surrealism and The Hairy Who.
For further inquiries and images, please contact, Jane Kim firstname.lastname@example.org or +1 347 278 1500. Special thanks to Alicia Tan, Quincy Childs, Beth Anne Farmer, Jeanne Quinn, Stephanie Corne, Mitchell-Innes & Nash, and Tanya Bonakdar Gallery.