80 Washington Square East, NYU

Curatorial Collaborative

February 7 – March 11, 2017

Project Space

The curatorial collaborative is a student initiative that brings together MFA and BFA candidates, as well as MA and Ph.D. Candidates in art history, allowing artists, curators, and art scholars to work together to create a final project, which is exhibited at 80 Washington Square East. 

11:30 Playdate
February 7 - 13

Olivia Andrews and Ila Krishnamoorthy
Curated by Megan DiNoia 
Installation view of the exhibition featuring several artworks in the exhibition. A blue bowl sits in the center of the gallery, on the cement floor with ripped up pieces of brown paper inside. The left wall is covered in floral wall paper. Several paintings are hanging. in front of the middle wall, a play mat is set up. It is made of mutli-colored patches of foam and includes a rug that has roads and foliage on it. There is a small white, toy-sized bunk bed on the carpet.
Close up image of a work in the exhibition featuring a blue and yellow comb sitting on black and white tile. On the tile, a piece of paper is sprawled out with the words, "WE NEVER THOUGHT WE WOULD GROW OUT OF HERE" in black type face. Behind the close up tile, there is a print of garden of flowers and vines.
Close up image of a strip of paper with type on it that states, "SHE'S TALKING SO FAST IT DOESN'T SOUND LIKE WORDS. I THINK I MIGHT THROW UP."
Close up image of a torn piece of brown paper in someones hand. In black type face, the paper states, "HE'S LOOKING AT ME, I KNOW THE ANSWER."
Close up image of a painting hanging on a wall covered in beige, floral wallpaper. The painting consists of several tomato plants against a white, unfinished background.
Image from a painting in the exhibition hanging on a white wall. The painting features an indoor scene with a corner of a blue table and a black chair tucked in. Orange fruit, similar to persimmon are scattered over the blue tablecloth. In the background, a green wall sits with a painting hung on it. The painting features two figures, a person and an animal from behind. A dog sits on the floor in the midground, turned away from the audience. A doorway is carved into the green wall revealing red and orange rooms that cascade back into the painting.
Close-up image of the installation featuring a multi-colored play mat made of foam. On top of the mat is a small rug with cartoon roads, and town on it. Sitting atop the rug, is a doll-house sized, bunk bed toy made of white wood.
Close up image of a painting in the exhibition hanging on a white fall. The painting features a pool scene from above with two figures swimming. Blue and pink pennant flags hang across, above the water. The bottom of the pool features black stripes, indicating the separate lanes.
11:30 playdate, a collaborative installation of works by Olivia Andrews and Ila Krishnamoorthy, serves as a physical and conceptual playdate between artist, curator, artwork, and viewer. The exhibition features entirely new works that exist in dialogue with one another and should be considered as a whole. 11:30 playdate contemplates youth, the passage of time, the formation of identity, and the awkwardness of becoming older. These objects manipulate the viewer, forcing them to crouch, look up, feel huge, or seem tiny. Viewers must, therefore, play along – reflect, participate, and self-situate in time and space. Fragments of both artists’ writing unfurl along the gallery’s walls on paper tinged by the remnants of sugary fruit strips that long ago stained the teeth of their young (or not-so-young) consumer. Their words are moments on a timeline, explorations of self, places seen, and stories heard – a jumble of prose perpetually echoed in other works with objects like fruit, moss, tile, and socks. These moments accumulate to form a collective memory, much like the sticky-slobbery build-up of chewed gum on the underside of Krishnamoorthy’s bathroom-tiled bench.

Andrews’ paintings likewise capture moments in real and imagined time – a swim lesson, a peek at hardened feet through the garden, a pile of persimmons. The colors and forms within her paintings echo those in Krishnamoorthy’s works, creating a dialogue that encourages the viewer to find connections, an aesthetic game of hide and seek.

11:30 playdate is documented in an accompanying publication featuring a curatorial essay by Megan DiNoia and reproduced images of additional works by Andrews and Krishnamoorthy.
When a Digital Surface Meets a Mutable Apparatus…
February 14 - 18

Daniel Mock and Dylan Riley
Curated by Regina Harsanyi
Installation view of the exhibition featuring several mechanisms of wood, rope, and various materials.
Image featuring an object in the exhibition. The image is framed as though the camera lens is the viewer looking down a a book in front of them. An arm wearing a black sleeve and white hand reaches and holds the left page of the book down. A yellow square sits behind the book against the wall.
When A Digital Surface Meets A Mutable Apparatus… is a two-person show featuring works by Daniel Mock and Dylan Riley, curated by Regina Harsanyi. This show aims to illustrate contemplations on both contemporary film theory and the utility of the readymade, focusing on six pieces, with iterations created specifically for this exhibition.

Seemingly in conversation with the writings of Giuliana Bruno, Riley’s work incorporates the scrim as an essential element to his software-based, randomized controlled projections. Riley creates a constant interplay between the tangible and digital realms, further demonstrated through his use of generated still images, made available to the visitor both through a conventionally bound artist book as well as scattered pages strewn across the gallery floor.

Mock plays with readymades in an intimate and transformative way, site-specifically reinventing their utility with each new context in mind. For example, in this exhibition, Pulpit (2017) interacts with Riley’s artist book by assuming the role of plinth or stand. Mock’s sculptures often meld with the distinct features of the spaces that temporarily houses them. Throughout this exhibition, whether attention is drawn to the texture of a screen, or the shift in utility of an otherwise mundane object, these “surfaces” are intended for careful consideration and cannot be overlooked.
Way Out / Away Out
February 21 - 25

Anna Marchisello and Phoebe Louise Randall
Curated by Haley S. Pierce
Installation image of the exhibition featuring a side view of wall text on the left wall and a painting hanging on the back wall. The wall text, skewed from camera angle states, "WAY OUT/AWAY OUT. ANNA MARCHISELLO AND PHOEBE LOUISE RANDALL. CURATED BY HALEY S. PIERCE."
Installation view of three small television monitors stacked on top of one another sitting atop a white pedestal. The monitors are on and show various stills from the videos that play on them. On the top monitor, a figure is blurred and crouched away from the camera. In the middle, a figure's head and shoulders is shown as the figure looks off screen with a gaping mouth. The bottom monitor consists of a blurry static screen with the word "REMEMBRANCE" on the bottom in white type face.
Image of an object in the exhibition featuring several dark colored pieces of cloth stitched together.
Installation view of a monitor screen in the exhibition featuring a still from a video featuring a person in a bright blue, long sleeve shirt standing with their back to the camera, their right arm pointed up towards the ceiling. Their head is tiled slightly upward.
Installation view of the exhibition featuring several works in the exhibition. On the left, a painting is hung against a white wall featuring dark colors. In the middle, a sculpture hangs from the ceiling.
Image of two works from the exhibition on two walls that converge in the corner. On the left wall, a projector projects the image of a white background with a person standing with their arms out wide. On the opposite wall, an abstract painting featuring various strips and sections of dark colors and shapes is hung.
Image of a television monitor from the exhibition. The monitor features grey static.
Image of a television monitor in the installation featuring a black screen with the word "DISCRETION" on the bottom. The monitor sits atop a white pedestal.
Image of a work in the exhibition featuring dark, abstract colors and shapes that seem to be in a quilted like pattern.
Way Out / Away Out is an evolving and interactive show curated by Haley S. Pierce, featuring multi-media work by Anna Marchisello and Phoebe Louise Randall with contributions by Madeline McCormack, Torin Geller, and Justin Faircloth. Manipulated and embedded in process and surfacing in reaction, Marchisello and Randall play with the idea of nuanced chance to inform both audience and self. Using recycled material combined with original compositions, both explore the role of human experience through intentional spaces of ambiguity left open for interpretation.

Marchisello is interested in the uncertain, unsaid, once familiar and unfamiliar, simultaneously specific yet unclear. She plays the part of choreographer and director, isolating and re-contextualizing her textual, visual, and audio material while seeking to create instances of doubt, curiosity, and feeling in the reaction of her viewers.

Her process referred to as fugitive, Randall allows chance through previously altered material to dictate her work. Rooted in repetition, Randall has developed a language of symbols which appear serially in her paintings and spill over onto subsequent pieces, creating an ongoing dialogue that questions individual understanding of obscure form.
Systems Flow
February 28 - March 4

Jóa and Kiyomi Taylor
Curated by Julia Bozer
Installation view of the exhibition featuring a bathtub made of paper mache in the center of the gallery. It is white and sits on manufactured claw feet. On the left wall there is a hanging fabric with a projection. On the middle wall, a colorful painting hangs, on the right, pink light streams in through pink film covered windows.
Mixed-media work featuring a figure laying on a natural landscape of green and brown colors. A red sky is in the background. The figure looks out at the audience as streams of blue, ocean-like collage pour out of their eyes. The green of the ground is also a figure that looks a the crying figure from the left side. The green figure holds hair from the crying figure in its mouth.
Painting from the exhibition featuring a nude figure with red, brown skin. A peacock hangs out of their mouth, bitten at the neck. The figure looks up at the purple sky with the bird hanging from their mouth, the birds green, blue feathers covering their body. The background of the painting consists of various browns of sloping hills and rivers. Misty, swirling light pink clouds move across the sky, and a circle image featuring two figures sits in the sky between the clouds like a moon.
Installation view of the exhibition featuring a bathtub structure in the center of the gallery floor. The tub is made of what seems to be paper mache.
Installation view of the exhibition featuring a projection onto a fabric, textured structure that hangs from the ceiling like a projector screen.
Installation view of the exhibition featuring four window panels. Several white, fabric streamers hang from the ceiling near a projector. A blue plastic bag also hangs from these strips of fabric. The windows are covered in a pinkish and purple film that changes the color of the light as it streams in.
Installation view of the exhibition featuring a bathtub in the center of the gallery. From this view, there are several objects inside the paper mache bathtub including various plants and vases.
In Systems Flow, works by Jóa and Kiyomi Taylor suggest that the often-oppositional binaries of the organic and the mechanical may be not only symbiotic, but interdependent. The artists’ invented spaces – man-made ecosystems and fantastical personal narratives – are as detached and independent as they are fundamentally intimate and alive.

Jóa’s fixtures and installations reimagine natural processes through interconnected glass prisms, in which painted designs and delicately arranged dioramas are thrown into flux by external forces, as electronic systems methodically alter their environmental conditions. Taylor’s paintings and stop-motion videos approach issues of identity and belonging; as inert, painted figures are animated both manually by affixed mobile limbs and mechanically through the interventions of a camera, they perform stories that ask whether it is our experiences or our emotions that linger as memories and selves.

Shared themes of circulation, evolution, and change – manifested in the pervasive flow of water – make these works not only about the experiment of living, but also about the inquisitiveness and innovation (whether from analytical study or raw feeling) needed to sustain and make sense of contemporary life. Literalizing this idea, the artists have collaborated on a handmade aquatic habitat, which houses a population of fish on the gallery floor.
Terrace House
March 7 – 11

Iiana Bilor-Wesly and Emily Wang
Curated by Eva Jensen
Installation view of an object from the exhibition. The structure consists of six boxes stacked on one another in three by two stack. The first two are wrapped in transparent blue bags, the middle boxes are in transparent white bags, and the last two are in transparent blue bags.
Image from the installation featuring a green and white sock hanging on a wall.
Installation image of the exhibition featuring part of the installation set up on the window sill. A small, white cube pedestal sits. Three books sit on top of the pedestal.
Image from the exhibition featuring a close up of a piece of paper, with black type printed on it. The paper is tacked up on the left corner, and hangs akimbo on the wall. The paper has the word "RECEIPT" in the upper right corner, but the other words are illegible from the camera viewpoint.
Close-up image of a wooden block, placed on the cement floor of the gallery. Atop the block sits a blue, china dish with blue liquid sitting inside.
Installation view of the exhibition featuring a sculpture propped against the right-side wall. The sculpture includes several plastic jugs, staggered on top of one another. The one on top, the fourth jug, has a light inside that glows yellow. On the left of the sculpture, a green and white, tie-dye sock hangs on the wall. A small cup sits on the floor in the corner, and a white piece of paper with typed writing, illegible from camera view, is tacked onto the left side wall.
Image of an artwork from the exhibition featuring a drawing of a figure is painting with abstract, dark colors. The figure holds a gun, and points it towards the viewer with their right hand, while holding a gun to their own head with their left hand. The figure looks out into the viewers eyes.
Installation view of the exhibition featuring three pieces of art work. On the left most side of the image, on the ground, sits an orange-ish wooden block. On top the block, sits a blue China bowl with blue liquid inside. On the left wall, a painting hangs with six abstract sections in an organization of three by two. The panels are illegible from camera view. On the right side wall, a drawing of a figure is painting with abstract, dark colors. The figure holds a gun, and points it towards the viewer with their right hand, while holding a gun to their own head with their left hand. The figure looks out into the viewers eyes.
The New York University Curatorial Collaborative presents Terrace House, the final show of the 2017 Senior Honors Studio exhibition series. The series features five, single-week exhibitions and will run from February 7th through March 11th at the 80WSE Gallery Project Space. This is the third year of the student-led initiative designed to connect graduate students in art history from the Institute of Fine Arts with undergraduates in Steinhardt School’s Department of Art and Art Professions.

Terrace House is a meditation on rage. Rage is not necessarily loud or violent or obvious – it churns, brews, and sustains. There is a productivity born from rage, a motivating force necessary to exorcise the hum of anger, like the silent, slow leak of a balloon. Underpinning these works is a hostility not to be taken at face value. Considered together, Wang and Bilor-Wesly’s works reflect on the characterization of their experience as “other”, a taking up of space they have previously been denied. The works convey a frustration with outside attempts at politicization, when more accurately the works are political because they have to be. And yet, perhaps reaching a mutual understanding isn’t the point at all. Even so, the quietness and coded materiality of these works present a choice of engagement; the experience could be one of tranquility or confrontation. Bilor-Wesly and Wang take refuge in this instability.

Bilor-Wesly’s follows an instinctual, tangential working method, and the end result is a manifestation of distance, an objectification of the unattainable. Through their depiction, these objects, places, and individuals are brought into the artist’s space and made to feel the way she does. An identity accused of otherness is reversed into a kind of ownership, a wielding of power within the frame.

Wang’s use of oil and its discarded jugs, a full life cycle of the material, identifies oil as the lifeforce it is – oil as economy, as community, as sustenance, as the subject of conflict and war. In the bowls, the stillness of the oil resembles a wishing well, its smooth surface interrupted by the tremors of its surroundings.