Twisted Data evite NewREV


Twisted Data


November 19, 2015 – January 24, 2016


Curator: Maddy Rosenberg 


Misinterpretation of scientific findings seems to be a dangerous enough practice, but the prevalence of beliefs in pseudo-sciences can have an even more devastating effect when they “prove” cultural prejudices. We may laugh at phrenology and its simplification of physiognomy, but at one time it was a serious segment of the “science” of criminology. Perhaps more toxic and lasting is eugenics, embraced by those in every place of power specifically in this country and Britain – and used by the Nazis as a basis for their own horrific campaign against those they deemed “unfit.” The dissemination of mis-information laid the groundwork both for a justification for such “cleansing” on a grand scale and for continued wrongheaded discourse and policies in the Western world. It pervaded the laws and the culture – and created myths of immigrants that remain difficult to dispel to this day.


Noah Fuller and John Kuo Wei Tchen excavate and expose the archives of the once formidable Eugenics Record Office in Cold Spring Harbor, the damage that keeps on damaging. Patricia Olynyk sorts through documentation in her own way to make art from the record. The films of Todd Herman manage to find a visual beauty celebrating the victims of atrocities perpetrated upon those deemed to be sub par. Rosary Solimanto utilizes her own experiences as the perceived inferior, twisting a position as a guinea pig into one of empowerment through art. Brandstifter searches old German medical texts and literally turns them on their heads, while Charley Friedman’s anatomy lesson is based on “unseemly” variations. Melissa Stern’s “creatures,” too, inhabit a world avoiding ethnic cleansing in order to exist as Bram Harris delves into the limitations of ethic identification through a specific genetic code. Barbara Rosenthal attempts to find answers in the simplicity of the alternative through historical diagrams. Jeffrey Allen Price maps the brain according to the color-coded quadrants of phrenology while the colors that Geraldine Ondrizek map are only skin deep. Sarah Stengle wryly combines angels of all colors with the detritus of spent bullets and bones, peacefulness only to be found in heaven, it seems.


Through art we attempt to understand the unfathomable: how human beings can categorize, degrade and experiment on each other, under a pseudo-scientific cover in a culturally relative quest for “perfecting” the human race.



Now You See It…
Color and the Mind’s Eye

September 8th – October 23rd, 2011

Reception – Thursday, September 15th, 6-8pm
Panel Discussion Art: Color and Optics – Thursday, October 13th, 6:30pm

Curator: Maddy Rosenberg

The richness of a colorful world we take for granted and yet it is a trick of the brain, perception wins out over the reality of a black and white environment. This exhibition brings together a group of artists through the exploration of color who examine the eye, who play with sight, who have us wonder at what it is we are seeing, or who question the “how” as well as the “why.”

Chuck Close, a modern Pointillist who builds images from mere scribbles of overlapping colors, takes the concept of the photographic dot into a new realm. Martha Hayden plays with our brain’s perception of color as space, with the variation on the eternal push/pull of the figure/ground question. The videos of Berlin artist Gerhard Mantz parade colors and shapes before us as they appear to morph from one plane to the next. Kate Temple takes her extensive studies of color theory, from Goethe onwards, to create atmospheric filterings through space, to see or not to see bare glimmers of landscape; David Ambrose layers color upon color until we see the glowing vibrations of transparencies ready to burst forth beyond the rectangle- or back into it. Yet the space in Nola Zirin’s paintings becomes a space of blue, as our eye winds around from deep space to the surface – or does it? But Sarah Stengle may be blue but blue still has its deeper meaning in a quest for what it does mean to be blue.

Katherine Jackson creates a lens for us to stand and look through, as it regards us noncommittally while Jo Yarrington’s sculptural piece models the eye through a lens lightly. Paul Tecklenberg turns optics on its head as the lens becomes a glass becomes a lens and Adrienne Klein, with echoes of Warhol, brings insight into the four-channel experience beyond the mere rods and cones of the title.

Master printer Ruth Lingen plays with the illusions of color on a daily basis while when working with Jessica Stockholder, color becomes a plaything. Peter Thomashow, a psychologist in his own right, lends his medical expertise to his playful assemblages. The book works of Julie Shaw Lutts explode from the boxes that contain them, this one dealing with a whimsical view of the science of optics. Kirsten Hoving may have a photographic historical outlook on the ocular, but W. David Powell manages with his witty collages of juxtapositions from historical textbooks to bring a contemporary perspective to the matter. Gareth Long takes his impulse from his library and gives us a reading on levels of perception.

All in all, these artists journey into the world, our world, colored by perception, psychology and the senses.

Press Release

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