White Columns Online #16:
The Position of the Sun in the Sky
curated by Bridget Finn

Al Wong Together We Stand, 2020. Polyester and sunlight 66 × 48 in. Courtesy of the artist. (Three vertical, pleated white fabric objects stand side by side in front of a partially drawn, sun drenched window shade. The window shade casts horizontal designs across the fabric.)

Al Wong Light is Up, 2016. Color photographs 96 × 12 in. Courtesy of the artist. (Eight vertically aligned photographic prints of a hand holding a lit candle are mounted to a white wall in varying rotations.)

Al Wong Self Portrait, 2016. Color photographs 36 × 48 in. Courtesy of the artist. (Several photographs of a person holding a camera and taking self portraits in a circular mirror from different angles. The photos are arranged to maintain the shape of the mirror.)

Fadi al-Hamwi Irrational Loop of Dust, 2016. Cement 55 × 31.5 × 3.5 in. Courtesy of the artist. (A cement sculpture imitating a door mat laying flat with its right edge folded over itself.)

Fadi al-Hamwi Dysfunction, 2016. Cement, hair 6 × 4 × 0.8 in. Courtesy of the artist. (A close up of a small, chipped cement block. Brown hairs extend from its surface.)

Hannah Leighton-Boyce Persistent Bodies (Detail), 2018. Salt, ceramic, steel core Variable. 6.3-7.9 × 15.7-17.7 in. Courtesy of the artist and The University of Salford Art Collection. (Three slightly deformed gray cylindrical objects lie on the ground. Each has a pipe passing through it.)

Hannah Leighton-Boyce Down, through, and back again, 2019. Copper Site-specific work. 47 × 47 in. Courtesy of the artist. (Rectangular pieces of copper arranged in a circular shape along a hardwood floor so as to imitate the patterning of the wood. They cast a bright reflection onto a white wall.)

Jesse Stecklow Untitled (10:19:30), 2014. Clock parts, clock guard, Carbograph 5 air sampler Courtesy of the artist. (A clock mounted on a wall behind an octagonal metal grill. Its glass is translucent, and three small plastic tubes extend from it.)

Jesse Stecklow Trios (Installation view), Hudson, 2014. Fly tape Courtesy of the artist. (A fly catching ribbon hung from a ceiling hook beside a fluorescent light.)

Kylie Lockwood Becoming a Sculpture, 2019. Porcelain, unfired clay, steel and nail polish Dimensions variable Courtesy of the artist and Simone DeSousa Gallery. (Five figurative porcelain sculptures depicting different postures of a nude body.)

Kylie Lockwood Becoming a Sculpture (Image 6), 2019. Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A person molding porcelain around their left leg. Above them several black and white printed images of a nude sculpture are posted.)

Kylie Lockwood Becoming a Sculpture (Image 7), 2019. Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A mirror image photograph of a person molding porcelain around their left leg. They are on a table and are supporting their weight with a clay block.)

Liz Linden signs (Atlanta), 2014. One live phalaenopsis orchid, one fake phalaenopsis orchid Dimensions variable Courtesy of the artist. (Two identical potted orchid plants on gray pedestals underneath a spotlight.)

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets (Installation view), 2017. Wallpaper, soil, lavender, fluorescent lights Dimensions variable Courtesy of the artist. (Four children exploring an indoor space filled with soil and rows of lavender crop. The walls depict a forest landscape and fluorescent lights hang from the ceiling.)

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. (Detail), 2015. Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (A bright yellow ethernet cable plugged into a wall covered with a leafy decal.)

Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Installation view), 2015. Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Debris covering a gallery floor. Small, colorful birds fly around the space. Further back, two people can be seen talking.)

Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Detail), 2015. Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Eighteen colorful birds perch on white painted wires near lights and ceiling fixtures.)

Robert Rhee Occupations of Uninhabited Space / Year Six / CHMP, 2018. Cultivated gourd, mild steel 10.25 × 9 × 9.5 in. Courtesy of the artist. (A golden-brown sculpture in an abstract and organic shape bound with metal sits in a well-lit square recess in a wall.)

Robert Rhee Frieze (fragment), 2016. Gourd-shards, dowels, staples, copper wire 19 × 13.5 × 9 in. Courtesy of the artist. (A shattered and stapled gourd sits in a square recess in a wall.)

Robert Rhee Untitled, 2018. Mild steel, cultivated gourd 2.5 × 2.5 × 8 in. (Left) 9.5 × 7 × 9.5 in. (Right) Courtesy of the artist. (Two objects sit in a well-lit rectangular recess. The object on the right appears to be a deformed, topless gourd, bound with metal. The object on the left appears to be the missing top.)

Ryo Tomoda Chinatown 3/23 – 6/17, 2020. Found objects, fishing lines, wall pins Dimensions variable Courtesy of the artist. (Ceiling installation with lighting fixture, a pack of Newports, loose paper, a feather, debris and miscellaneous objects.)

Ryo Tomoda McKinlock Room-Western Art Section, Heritage Museum of Asian Art, 2020. Sumi ink on paper, marker on plastic bags Dimensions variable Courtesy of the artist. (Wind-inflated plastic bags hanging from a pole between two buildings. Two bags have markings resembling flags.)

Ryo Tomoda A Set within, 2020. Hair bands, metal pins 80 × 70 × 5 in. Courtesy of the artist.(Hair bands of different sizes and thicknesses installed on a white wall in the shape of an oval.)