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March 09, 2024
Car Show at Adjacent To Life
Tinsquo's curatorial project, Adjacent To Life, presents Car Show by Cooper Ronan.
@c0000000000per's statement:
As one could probably gather, Ive become a bit obsessed with the cars that sit on the streets of New York City. Battered and war-torn from wild drivers, winter weather, street sweepers etc., these cars screech loud and proud, puttering along, only to potentially break down the next avenue over.
My appreciation of cars started at an early age with the usual Scholastic book fair poster on my wall and watching BBCs Top Gear. Ironically, it was the repetitive walks I would take, in whatever neighborhood I lived in at the time, that I found myself daydreaming of these cars. Everywhere I looked, they taunted me with their roadside freedom. Scratched, crashed, dented, rusted over and in need of repair, all waiting in single file lines along every block. It doesn't make sense really, in a city so walkable, with public transportation built into the infrastructure, and No fucking spots anywhere! Why would anyone have a car in this city? What drives us to hold on to these pieces of highly manufactured garbage, expensive repair after expensive repair?
It's obvious really, they're icons. Symbols of a limitless and immediate reality, of dreams realized or lost, of extra space held in a city that can feel so small. Above all, theres hope welded into their chassis. They represent us as people. We slap stickers on the back bumpers, boasting our political beliefs, brands we like, or silly jokes we think will align with someone behind us. We raise them up, drop them low, add suspension, tint the windows; theyre our personalized motor companions. Their iconography is nostalgic, they remind us of the dreams we once had when we held child-like bewilderment for toy cars, now actualized as functional motor vehicles.
Car Show is a return to that boyhood glimmer in my eyes. It grapples with my simple interest in cars and how thats informed an entire construct in my life, such as notions of masculinity. Its a car-centric coming of age, distracted and fixated on aesthetics while crossing the road from boyhood to manhood. It is both an escape and acceptance so utterly boy, it hurts. Beyond all, it is a love letter to these icons and my younger, present, and future selfs infatuation with them.
Car Show is on view through April 5, 2024 at the Adjacent To Life gallery housed in Ninth Street Espresso (341 E. 10th Street at Ave B, New York City). Opening reception: Saturday, March 9, 7:00 - 9:00.
March 08, 2024
March 07, 2024
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March 04, 2024
Groves: manifestation_#199
March 03, 2024
March 02, 2024
March 01, 2024
February 29, 2024
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February 10, 2024
pepi do it
Tinsquo's curatorial project, Adjacent To Life, presents pepi do it by Pepi G. Friedman.
Caregivers take photographs of children, especially when they are young. But what does a child see? The works on display here, compositions made and images taken by an infant, conjure classic debates about meaning and signification in photography. Can photos index the will of an author whose thought, prior to speech, is largely instrumental? In the case of an artist only partially initiated into any community of language and representation, it would seem impossible to glean intentions from photographic effects.
Audiences often ponder what exactly an artist meant to convey, but the authors subjectivity operates here on a different plane. With these photos we encounter intention not in the symbolic language of composition, but in the manipulation of a device, in the claim to a tool in the representational world of adults. Pepi seized our phones with purpose (we fretted; should she be engaging with technology so young?). This exhibit recognizes her declaration: I am here. I am part of this community, even if I have not yet mastered its languages.
With these interventions, Pepi interrupts our habitual documentation of her as a passive object of affection. She pulls the brakes on the 24/7 recording of her life. Some photographs seem to carve out significance from the morass of everyday experience. Others render by accident, surely? pleasing abstract forms. Altogether, they provide an occasion for you, the viewer, to recall memories, to make connections, to invent stories, and to engage in your own subjective experience.
- Andrew Anastasi and Rose Friedman
pepi do it is on view through March 8, 2024 at the Adjacent To Life gallery housed in Ninth Street Espresso (341 E. 10th Street at Ave B, New York City). Opening reception: Saturday, February 10, 7:00 - 9:00.
February 08, 2024
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Groves: percentage_#194
January 10, 2024
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January 08, 2024
Groves: preparation_#191
January 07, 2024
January 06, 2024
Dark City at Adjacent To Life
Tinsquo's curatorial project, Adjacent To Life, presents Dark City by Dina Litovsky.
Marisa Malone contributes the exhibition essay:
What is a city without its people? Photographer Dina Litovsky shows us its disorienting. During COVID the city became nonsensical, she says, "there were street lights guiding no one, signs and advertisements became useless its like a segment of a dream. You're not exactly sure what is going on. Photographed during the height of the pandemic while taking hours-long walks at night, Dark City encapsulates the dreamlike, dystopian reality of that time.
The title of this exhibit comes from a dystopian sci-fi film of the same name. These photos nod to the film's neo-noir aesthetic and combine the isolation often felt in the paintings of Edward Hopper. I love artificial light sources, like the way Hopper used them, she says, I was looking for light sources from street lamps, headlights, neon signs, and windows. There is a voyeuristic quality to this body of work. A roving eye that seeks life in the dark.
Beyond this series, her style can be described as confrontational, using flash and vivid color much in conversation with her mentor Bruce Guilden. Guided by her interests in people, sexual politics, and subcultures, Litovsky documents her subjects in such a way that feels revealing of some unspoken truth or understanding.
Finding photography after studying pre-med and psychology, she continues to observe human behavior from behind the lens. It has also changed her own behavior, Im an extreme introvert, she says but with a camera I'm a different person. It gets me out to social events I wouldn't feel comfortable going to otherwise. The proof of which is in her photographs up close, bold, and intimate.
- Marisa Malone
Dina Litovsky is a Ukrainian-born photographer living in New York City since 1991. Dina's imagery can be described as visual sociology. Her work explores the idea of leisure, often focusing on subcultures and social gatherings. Dina is a regular contributor to National Geographic, The New York Times Magazine, TIME, New Yorker, GQ and New York Magazine. In 2020 Dina won the Nannen Prize, Germany's foremost award for documentary photography.
Marisa Malone grew up in the Sierra foothills of Nevada. She studied writing and literature at The Evergreen State College and currently lives in Brooklyn, NY. Her writing has been published in BlazeVox Journal and Selfish Magazine, along with two self-published poetry chapbooks.
Dark City is on view through February 9, 2024 at the Adjacent To Life gallery housed in Ninth Street Espresso (341 E. 10th Street at Ave B, New York City). Opening reception: Friday, January 12, 7:00 - 9:00.
January 05, 2024
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January 02, 2024
Groves: Cassandra_#186
January 01, 2024
Twenty Years of Acrylic Palettes
State of acrylic palette at the conclusion of every day from Feb 1, 2004 through Dec. 31, 2023.