White Columns Online #7:

‘PLS’

curated by Francisco Correa Cordero

September 27–December 15, 2018 Online
A large, floating egg against a navy blue background. The egg is a slightly lighter shade of blue, with splotches of dark gray and highlights at the edges and center.

Daryl Bergman
Egg, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist

A foam block with a relief of a person’s head looking off to the right and a small vial containing personal items placed on a flat wooden box. Underneath the box, a lit fluorescent light strip is visible.

Gabriel Simon Cohen
The Long and Short of (all of it), 2016
Foam, Wood, Fluorescent Light, Fossilized Crinoid Stalks (collected on a beach by my mother), Dried Flower (gifted to me by Molly), Brass ring (gifted to me by Samantha), Plastic Container
23 × 22 × 12 in.
Courtesy of the artist

A sculpture glazed in satin black paint, made of two elements joined at their bases. The elements consist of outwardly extending irregular clay pillars. The sculpture rests precariously on the peaks of the bottom element.

Katie Kirk
Moi et Toi Series – Satin Black, 2016
Glazed ceramic
24 × 24 × 11 in.
Courtesy of the artist

The remaining frame of a television that has been burned, installed upright on two marble blocks over a large mesh screen. The screen extends up onto the adjacent wall.

Kristine Eudey
Untitled (Trinitron), 2017
Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel
42 × 32 × 48 in.
Courtesy of the artist

A rectangular off-white wall sculpture with slightly irregular edges. Its surface is textured with patterned horizontal and vertical lines of various lengths and thicknesses.

SaraNoa Mark
Shaping Sand, 2018
Carved paper clay
10.25 × 13.5 in.
Courtesy of the artist

A standing sculpture made of a thin strip of steel framing an irregular piece of acrylic glass. A chain is looped through a circular hole in one of the corners of the glass, and partially rests on the floor.

Jerry Blackman
Mustache, 2011
Acrylic glass, steel, spray lacquer
6 ft.
Courtesy of the artist

A cobalt blue aluminum sculpture in the shape of an upright sheet of cardboard. The cardboard has various marks, creases and tears. Three holes near the center form a simple face.

Daniel Jensen
Cobra, 2015
Sand cast aluminium and enamel paint
46 × 30 × 13 cm
Courtesy of the artist

A standing sculpture made from an upright, twisted piece of memory foam cast in white resin. Bodily imprints, including handprints, are visible on the sculpture.

Barb Smith
Untitled, 2016
Memory Foam, Aqua Resin, and impressions from 2 bodies
Dimensions variable
Courtesy of the artist

An abstract painting depicting black squiggles of various sizes outlined in white against a black background that has been brushed over lightly with translucent white strokes.

Daryl Bergman
Rigali, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist

An abstract painting on drywall. The drywall has been cut to form an arch within the frame. The edges of the drywall are skimmed with plaster, and the arch is outlined in brown and blue.

Nicolas Fleming
High Hopes, 2016
Drywall, plaster, pigment, varnish, acrylic medium
34 × 52 in.
Courtesy of the artist

An abstract work consisting of various intersecting and overlapping shapes, especially circles, outlined in white over a green background.

Chris Pousette-Dart
9201 172, 2013
Colored pencil on paper
30 × 22 in.
Courtesy of the artist

A sculpture consisting of three bent orange urethane tubes attached to a white plastic component and placed on a small white pentagonal table.

John J Richardson
Case Study No. 25, 2012
Wood, urethane
40 in.
Courtesy of the artist

A wall sculpture consisting of a white plaster frame with two pigment-splattered blocks attached along the inside edge, one block at the bottom right corner and one near the top left.

Tania Jade Houtzager
Tooth Ache, 2017
Hydrocal, graphite, powder pigment, wood
38 × 30 in.
Courtesy of the artist

Participating Artists

Daryl Bergman
Jerry Blackman
Gabriel Simon Cohen
Kristine Eudey
Nicolas Fleming
Tania Jade Houtzager
Daniel Jensen
Katie Kirk
SaraNoa Mark
Chris Pousette-Dart
John J. Richardson
Barb Smith

Exhibition Description

“A limit can be understood as something to be pushed and/or reached beyond; as a maximum or minimum capacity to act; or, as the threshold beyond which one can never reach. The limit, then, is highly significant to our understanding of what a body could be and its inhabitation of space. Uncovering, experiencing, or experimenting with what, where and when the limits of the body are, […] can make evident or potentially disrupt our notion of what it means to be a human being in the world.” – Sebastian Abrahamsson, The limits of the body: boundaries, capacities, thresholds (2011)

“PLS,” short for “phantom limb sensations” or “phantom limb syndrome,” refers to the feelings (sometimes pain) in limbs that are no longer part of oneself, and is perceived outside of the limits and borders of the body. It was originally believed that it was caused by the grieving over the loss of the limb, but as opposed to other types of chronic pain, psychological factors are not precisely the cause. In some cases, this feeling is perceived in limbs that never existed in the first place. It is actually due to a reorganization of the nervous system. This peculiar phenomenon and adaptation to new conditions, is at the core of this exhibition.

Augmentation, loss, longing, allusions to schematics and a desire to reach and see beyond what is perceived are among the themes in the work of the artists included in PLS; each responding with different degrees of anxiety and tension to their environment, their own limits and their own materiality.

Under certain circumstances the brain’s representation of the body can be extended, and can assimilate external objects as part of itself. Conversely, the brain is also able to deny ownership of its own limbs. The works included in PLS occupy an unstable space in which they are both at comfort and unease with themselves. They are familiar while compellingly strange and foreign, becoming whole in their own entropy.

Francisco Correa Cordero is the founder and director of the contemporary art space Lubov in Lower Manhattan and the executive coordinator at Independent Curators International (ICI) in New York.

This exhibition is the seventh in a series of online exhibitions curated exclusively from White Columns’ Curated Artist Registry.

For more information: registry.whitecolumns.org

A large, floating egg against a navy blue background. The egg is a slightly lighter shade of blue, with splotches of dark gray and highlights at the edges and center.
A foam block with a relief of a person’s head looking off to the right and a small vial containing personal items placed on a flat wooden box. Underneath the box, a lit fluorescent light strip is visible.
A sculpture glazed in satin black paint, made of two elements joined at their bases. The elements consist of outwardly extending irregular clay pillars. The sculpture rests precariously on the peaks of the bottom element.
The remaining frame of a television that has been burned, installed upright on two marble blocks over a large mesh screen. The screen extends up onto the adjacent wall.
A rectangular off-white wall sculpture with slightly irregular edges. Its surface is textured with patterned horizontal and vertical lines of various lengths and thicknesses.
A standing sculpture made of a thin strip of steel framing an irregular piece of acrylic glass. A chain is looped through a circular hole in one of the corners of the glass, and partially rests on the floor.
A cobalt blue aluminum sculpture in the shape of an upright sheet of cardboard. The cardboard has various marks, creases and tears. Three holes near the center form a simple face.
A standing sculpture made from an upright, twisted piece of memory foam cast in white resin. Bodily imprints, including handprints, are visible on the sculpture.
An abstract painting depicting black squiggles of various sizes outlined in white against a black background that has been brushed over lightly with translucent white strokes.
An abstract painting on drywall. The drywall has been cut to form an arch within the frame. The edges of the drywall are skimmed with plaster, and the arch is outlined in brown and blue.
An abstract work consisting of various intersecting and overlapping shapes, especially circles, outlined in white over a green background.
A sculpture consisting of three bent orange urethane tubes attached to a white plastic component and placed on a small white pentagonal table.
A wall sculpture consisting of a white plaster frame with two pigment-splattered blocks attached along the inside edge, one block at the bottom right corner and one near the top left.

Daryl Bergman
Egg, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist (A large, floating egg against a navy blue background. The egg is a slightly lighter shade of blue, with splotches of dark gray and highlights at the edges and center.)

Gabriel Simon Cohen
The Long and Short of (all of it), 2016
Foam, Wood, Fluorescent Light, Fossilized Crinoid Stalks (collected on a beach by my mother), Dried Flower (gifted to me by Molly), Brass ring (gifted to me by Samantha), Plastic Container
23 × 22 × 12 in.
Courtesy of the artist (A foam block with a relief of a person’s head looking off to the right and a small vial containing personal items placed on a flat wooden box. Underneath the box, a lit fluorescent light strip is visible.)

Katie Kirk
Moi et Toi Series – Satin Black, 2016
Glazed ceramic
24 × 24 × 11 in.
Courtesy of the artist (A sculpture glazed in satin black paint, made of two elements joined at their bases. The elements consist of outwardly extending irregular clay pillars. The sculpture rests precariously on the peaks of the bottom element.)

Kristine Eudey
Untitled (Trinitron), 2017
Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel
42 × 32 × 48 in.
Courtesy of the artist (The remaining frame of a television that has been burned, installed upright on two marble blocks over a large mesh screen. The screen extends up onto the adjacent wall.)

SaraNoa Mark
Shaping Sand, 2018
Carved paper clay
10.25 × 13.5 in.
Courtesy of the artist (A rectangular off-white wall sculpture with slightly irregular edges. Its surface is textured with patterned horizontal and vertical lines of various lengths and thicknesses.)

Jerry Blackman
Mustache, 2011
Acrylic glass, steel, spray lacquer
6 ft.
Courtesy of the artist (A standing sculpture made of a thin strip of steel framing an irregular piece of acrylic glass. A chain is looped through a circular hole in one of the corners of the glass, and partially rests on the floor.)

Daniel Jensen
Cobra, 2015
Sand cast aluminium and enamel paint
46 × 30 × 13 cm
Courtesy of the artist (A cobalt blue aluminum sculpture in the shape of an upright sheet of cardboard. The cardboard has various marks, creases and tears. Three holes near the center form a simple face.)

Barb Smith
Untitled, 2016
Memory Foam, Aqua Resin, and impressions from 2 bodies
Dimensions variable
Courtesy of the artist (A standing sculpture made from an upright, twisted piece of memory foam cast in white resin. Bodily imprints, including handprints, are visible on the sculpture.)

Daryl Bergman
Rigali, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist (An abstract painting depicting black squiggles of various sizes outlined in white against a black background that has been brushed over lightly with translucent white strokes.)

Nicolas Fleming
High Hopes, 2016
Drywall, plaster, pigment, varnish, acrylic medium
34 × 52 in.
Courtesy of the artist (An abstract painting on drywall. The drywall has been cut to form an arch within the frame. The edges of the drywall are skimmed with plaster, and the arch is outlined in brown and blue.)

Chris Pousette-Dart
9201 172, 2013
Colored pencil on paper
30 × 22 in.
Courtesy of the artist (An abstract work consisting of various intersecting and overlapping shapes, especially circles, outlined in white over a green background.)

John J Richardson
Case Study No. 25, 2012
Wood, urethane
40 in.
Courtesy of the artist (A sculpture consisting of three bent orange urethane tubes attached to a white plastic component and placed on a small white pentagonal table.)

Tania Jade Houtzager
Tooth Ache, 2017
Hydrocal, graphite, powder pigment, wood
38 × 30 in.
Courtesy of the artist (A wall sculpture consisting of a white plaster frame with two pigment-splattered blocks attached along the inside edge, one block at the bottom right corner and one near the top left.)