Tom Zarrilli's installation, A Year in the Yards of Clutter and the Driveways of Divestment, brings to mind a story about the American photographer Walker Evans who once purchased an entire yard sale and presented it to a friend as a gift on his front lawn. Zarrilli has staged his own version of the curious conjuncture of junk and kitsch. His installation includes the Elvis painting, taxidermy deer head, off-season holiday fixtures, cheap toys, useless VHS tapes and outdated electronics that appear in yard sales everywhere. This interactive piece, presented at the Atlanta Contemporary Arts Center, invited participants to rummage through objects, and consequently, change and define the dimension and form of the installation. On the final day of the exhibition, all of the objects were sold, recycled or discarded.
Norwegian artist Kjell Varvin's pair of welded steel sculptures, SUPERCUBE MENOR & MAYOR, creates geometric forms from negative space. The delicate lines of the structures function like three-dimensions drawings outlining various shapes. Varvin describes his fascination with the hidden messages, or secrets, of visual art, architecture and music, perceptible mostly to other artists or those willing to pay close attention.
The striking outdoor sculpture installed by German artist Kai Richter on the roof of a building in Nuremberg is testimonial to his statement: "The work assumes that construction sites are of timeless beauty. The end results of architecture are usually not." Whether one agrees with his assertion in more general terms, the artist presents a structure made from scaffolding, steel and wood with remarkable formal beauty. In a photograph of es blieb was konnte contrasting the form of the sculpture with the form of the gray-brick building upon which it is poised, the sculpture captures our eye with its audacious asymmetry and forceful lines.
Like Andrew Moore's photographs of the decaying interiors and exteriors of architectural spaces in Detroit, Andrew Cranston's Rubbish Painting captures a similar transformation within the walls of a declining building. He describes the site as a place "hovering between outdoors and in," where manmade debris coexist with natural growth. Cranston developed the painting over the course of several years, adding and subtracting to its surface in a process that the artist likens to decay and entropy.
David Andrew Frey is a New York-based artist, curator and technologist. He founded Culturehall in 2008 as a new way for artists to connect with curators, gallerists, collectors and other artists. David received a MFA in Studio Art from the University of Illinois at Chicago in 2000. He has also studied at the Camberwell College of art in London the Hochschule der Künste, Berlin, the University of New Mexico in Albuquerque and the Savannah College of Art and Design. He has been involved with Internet-based technologies since 2000.
Tema Stauffer is a photographer based in Brooklyn and a curator for Culturehall. She graduated from Oberlin College in 1995 and received a MFA in Photography from the University of Illinois at Chicago in 1998. Her work has been exhibited at Jen Bekman Gallery and Daniel Cooney Fine Art Gallery in New York, as well as galleries and institutions nationally and internationally. She teaches photography courses at William Paterson University and the School of the International Center of Photography, and co-taught a workshop at Toxico Cultura in Mexico City. She also writes a blog about photography, PalmAire. In 2011, she was awarded an AOL 25 for 25 Grant for innovation in the arts.