White Columns Online:

‘PLS’

curated by Francisco Correa Cordero

September 27–December 15, 2018 Online
Daryl Bergman Egg, 2017 Oil on linen 10 x 12 in. Courtesy of the artist (A painting of a large floating egg in the center of a dark navy background. The egg itself is a slightly lighter blue with highlights on the edges and the center. There are areas of dark gray and blue on the egg as well.) 

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

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 x 22 x 12 in. Courtesy of the artist (A foam block consisting of smaller blocks sitting vertically on the bottom right corner of a flat wooden box. There is a relief on the face of the foam block of a head looking off into a landscape that is obstructed by a rectangular hole. There is a small, cylindrical, clear container with personal items on the wooden box as well. On the bottom of the box is a strip fluorescent light and there is a cord coming out of the left side of the box.)

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

Katie Kirk Moi et Toi Series - Satin Black, 2016 Glazed ceramic 24 x 24 x 11 in. Courtesy of the artist (A ceramic sculpture composed of two smaller halves. Each half is made organic clay pillars that come together to form structures. The flat bottom of the structures are joined together and the sculpture rests on the peaks of the bottom half.) 

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

Kristine Eudey Untitled (Trinitron), 2017 Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel 42 x 32 x 48 in. Courtesy of the artist (A sculpture installed where the wall meets the floor. The remaining frame of a television after being burned is installed upright on two small marble blocks. In between the two blocks and a large, flat sheet of marble is a screen that is installed up the wall.) 

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

SaraNoa Mark Shaping Sand, 2018 Carved paper clay 10.25 x 13.5 in. Courtesy of the artist (A rectangular, monochrome off white wall sculpture with slightly irregular edges. The sculpture is textured with patterns of horizontal and vertical lines of different lengths all over with some areas built up more than others. There is a long vertical hole on the right side of the sculpture and two smaller horizontal holes on the left side.) 

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

Jerry Blackman Mustache, 2011 Acrylic glass, steel, spray lacquer 6 ft. Courtesy of the artist (A minimal standing steel sculpture made of a thin strip of steel that frames an irregular, geometric piece of acrylic glass. There is a hole in one of the corners of the acrylic glass where a chain is looped around it. The chain is partially resting on the floor.) 

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

Daniel Jensen Cobra, 2015 Sand cast aluminium and enamel paint 46 x 30 x 13 cm Courtesy of the artist (A cast aluminum sheet of cardboard painted blue standing upright on a pedestal. The cardboard has many marks from being folded and handled and the corners and edges are torn and jagged. in there are three holes near the center of the piece that can be interpreted as a simple face.) 

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

Barb Smith Untitled, 2016 Memory Foam, Aqua Resin, and impressions from 2 bodies Dimensions variable Courtesy of the artist (A standing sculpture consisting of a white, upright twisted memory foam that has been hardened. Imprints from bodies 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

Daryl Bergman Rigali, 2017 Oil on linen 10 x 12 in. Courtesy of the artist (An abstract painting of different sized black squiggles outlined in thin white lines on top of a black background brushed lightly with translucent white strokes.) 

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

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

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

Chris Pousette-Dart 9201 172, 2013 Colored pencil on paper 30 x 22 in. Courtesy of the artist (A geometrically abstract work consisting of a lot of bisected circles in white outlines on a green background.)

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

John J Richardson Case Study No. 25, 2012 Wood, urethane 40 in. Courtesy of the artist (An abstract sculpture on a white table consisting of orange urethane bent tubes attached to a white wooden component.) 

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

Tania Jade Houtzager Tooth Ache, 2017 Hydrocal, graphite, powder pigment, wood 38 x 30 in. Courtesy of the artist (A wall sculpture consisting of a skinny white frame made of plaster with two blocks attached on the inside. One is on the bottom right corner and the other near the top right corner. The bottom block is covered with graphite and pigments, rendering it black with patches of white. The tom block has small patches of black pigment on its top half.) 

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; this exhibition was curated from White Columns’ Artist Registry.

Participating Artists Include:
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

For more information: registry.whitecolumns.org

Daryl Bergman Egg, 2017 Oil on linen 10 x 12 in. Courtesy of the artist (A painting of a large floating egg in the center of a dark navy background. The egg itself is a slightly lighter blue with highlights on the edges and the center. There are areas of dark gray and blue on the egg as well.) 
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 x 22 x 12 in. Courtesy of the artist (A foam block consisting of smaller blocks sitting vertically on the bottom right corner of a flat wooden box. There is a relief on the face of the foam block of a head looking off into a landscape that is obstructed by a rectangular hole. There is a small, cylindrical, clear container with personal items on the wooden box as well. On the bottom of the box is a strip fluorescent light and there is a cord coming out of the left side of the box.)
Katie Kirk Moi et Toi Series - Satin Black, 2016 Glazed ceramic 24 x 24 x 11 in. Courtesy of the artist (A ceramic sculpture composed of two smaller halves. Each half is made organic clay pillars that come together to form structures. The flat bottom of the structures are joined together and the sculpture rests on the peaks of the bottom half.) 
Kristine Eudey Untitled (Trinitron), 2017 Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel 42 x 32 x 48 in. Courtesy of the artist (A sculpture installed where the wall meets the floor. The remaining frame of a television after being burned is installed upright on two small marble blocks. In between the two blocks and a large, flat sheet of marble is a screen that is installed up the wall.) 
SaraNoa Mark Shaping Sand, 2018 Carved paper clay 10.25 x 13.5 in. Courtesy of the artist (A rectangular, monochrome off white wall sculpture with slightly irregular edges. The sculpture is textured with patterns of horizontal and vertical lines of different lengths all over with some areas built up more than others. There is a long vertical hole on the right side of the sculpture and two smaller horizontal holes on the left side.) 
Jerry Blackman Mustache, 2011 Acrylic glass, steel, spray lacquer 6 ft. Courtesy of the artist (A minimal standing steel sculpture made of a thin strip of steel that frames an irregular, geometric piece of acrylic glass. There is a hole in one of the corners of the acrylic glass where a chain is looped around it. The chain is partially resting on the floor.) 
Daniel Jensen Cobra, 2015 Sand cast aluminium and enamel paint 46 x 30 x 13 cm Courtesy of the artist (A cast aluminum sheet of cardboard painted blue standing upright on a pedestal. The cardboard has many marks from being folded and handled and the corners and edges are torn and jagged. in there are three holes near the center of the piece that can be interpreted as 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 consisting of a white, upright twisted memory foam that has been hardened. Imprints from bodies including handprints are visible on the sculpture.) 
Daryl Bergman Rigali, 2017 Oil on linen 10 x 12 in. Courtesy of the artist (An abstract painting of different sized black squiggles outlined in thin white lines on top of a black background brushed lightly with translucent white strokes.) 
Nicolas Fleming High Hopes, 2016 Drywall, plaster, pigment, varnish, acrylic medium 34 x 52 in. Courtesy of the artist (An abstract painting on drywall. The drywall has been cut to form an arch within a frame. The edges of the drywall are skimmed with plaster and there is brown and blue along the arched edge of the drywall.) 
Chris Pousette-Dart 9201 172, 2013 Colored pencil on paper 30 x 22 in. Courtesy of the artist (A geometrically abstract work consisting of a lot of bisected circles in white outlines on a green background.)
John J Richardson Case Study No. 25, 2012 Wood, urethane 40 in. Courtesy of the artist (An abstract sculpture on a white table consisting of orange urethane bent tubes attached to a white wooden component.) 
Tania Jade Houtzager Tooth Ache, 2017 Hydrocal, graphite, powder pigment, wood 38 x 30 in. Courtesy of the artist (A wall sculpture consisting of a skinny white frame made of plaster with two blocks attached on the inside. One is on the bottom right corner and the other near the top right corner. The bottom block is covered with graphite and pigments, rendering it black with patches of white. The tom block has small patches of black pigment on its top half.) 

Daryl Bergman
Egg, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist (A painting of a large floating egg in the center of a dark navy background. The egg itself is a slightly lighter blue with highlights on the edges and the center. There are areas of dark gray and blue on the egg as well.)

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 consisting of smaller blocks sitting vertically on the bottom right corner of a flat wooden box. There is a relief on the face of the foam block of a head looking off into a landscape that is obstructed by a rectangular hole. There is a small, cylindrical, clear container with personal items on the wooden box as well. On the bottom of the box is a strip fluorescent light and there is a cord coming out of the left side of the box.)

Katie Kirk
Moi et Toi Series – Satin Black, 2016
Glazed ceramic
24 × 24 × 11 in.
Courtesy of the artist (A ceramic sculpture composed of two smaller halves. Each half is made organic clay pillars that come together to form structures. The flat bottom of the structures are joined together and the sculpture rests on the peaks of the bottom half. The whole sculpture is glazed in satin black.)

Kristine Eudey
Untitled (Trinitron), 2017
Burned Sony Trinitron television, Carrara marble, fiberglass, maple, enamel
42 × 32 × 48 in.
Courtesy of the artist (A sculpture installed where the wall meets the floor. The remaining frame of a television after being burned is installed upright on two small marble blocks. In between the two blocks and a large, flat sheet of marble is a screen that is installed up the wall.)

SaraNoa Mark
Shaping Sand, 2018
Carved paper clay
10.25 × 13.5 in.
Courtesy of the artist (A rectangular, monochrome off white wall sculpture with slightly irregular edges. The sculpture is textured with patterns of horizontal and vertical lines of different lengths all over with some areas built up more than others. There is a long vertical hole on the right side of the sculpture and two smaller horizontal holes on the left side.)

Jerry Blackman
Mustache, 2011
Acrylic glass, steel, spray lacquer
6 ft.
Courtesy of the artist (A minimal standing steel sculpture made of a thin strip of steel that frames an irregular, geometric piece of acrylic glass. There is a hole in one of the corners of the acrylic glass where a chain is looped around it. The chain is partially resting on the floor.)

Daniel Jensen
Cobra, 2015
Sand cast aluminium and enamel paint
46 × 30 × 13 cm
Courtesy of the artist (A cast aluminum sheet of cardboard painted blue standing upright on a pedestal. The cardboard has many marks from being folded and handled and the corners and edges are torn and jagged. in there are three holes near the center of the piece that can be interpreted as 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 consisting of a white, upright twisted memory foam that has been hardened. Imprints from bodies including handprints are visible on the sculpture.)

Daryl Bergman
Rigali, 2017
Oil on linen
10 × 12 in.
Courtesy of the artist (An abstract painting of different sized black squiggles outlined in thin white lines on top of a black background brushed 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 a frame. The edges of the drywall are skimmed with plaster and there is brown and blue along the arched edge of the drywall.)

Chris Pousette-Dart
9201 172, 2013
Colored pencil on paper
30 × 22 in.
Courtesy of the artist (A geometrically abstract work consisting of a lot of bisected circles in white outlines on a green background.)

John J Richardson
Case Study No. 25, 2012
Wood, urethane
40 in.
Courtesy of the artist (An abstract sculpture on a white table consisting of orange urethane bent tubes attached to a white wooden component.)

Tania Jade Houtzager
Tooth Ache, 2017
Hydrocal, graphite, powder pigment, wood
38 × 30 in.
Courtesy of the artist (A wall sculpture consisting of a skinny white frame made of plaster with two blocks attached on the inside. One is on the bottom right corner and the other near the top right corner. The bottom block is covered with graphite and pigments, rendering it black with patches of white. The tom block has small patches of black pigment on its top half.)