2017 Programme

 

On View: Pacifico Silano, John John

RUBBER FACTORY is presenting a solo exhibition of new works by Pacifico Silano from his series, "John John".

Every aspect of John F. Kennedy Jr.’s life was photographed, televised, and written about in a headline. His classic good looks and sexualized physique became a staple of mainstream media coverage. American culture feeds off of name recognition, likability and attractiveness. These reworked photos blur the line between the public and private self, our obsession with creating celebrity, and the American fascination with political royalty. We project our hopes, dreams and aspirations on those that are telegenic. 

Find out more HERE

 
 

Women in Colour

August 19 – September 27, 2017

RUBBER FACTORY is pleased to present a group exhibition exploring the pioneering role of women in the use of color in photography.

Artists included in the group exhibition:

Amanda Means, Carrie Mae Weems, Cindy Sherman, Ellen Carey, Elinor Carucci, Jan Groover, Liz Nielsen, Laurie Simmons, Patty Carroll, Meghann Riepenhoff, Marion Belanger, Moira McDonald, Penelope Umbrico, Susan Derges, Mariah Robertson.

Find out more HERE

 

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PHOTOFAIRS | Shanghai with Jordan Sullivan

September 8 – 10th,  2017

RUBBER FACTORY is making its Asia debut at PHOTOFAIRS | Shanghai with a solo presentation of Jordan Sullivan's new hand treated photographic bases.

Jordan Sullivan’s installation, ”The California Sun Was All I Had For Breakfast, And It Burned My Eyes”, is composed of redemptive pieces; things made from failures through a process open to destruction and mistakes. Jordan prints each photograph on a basic office printer, the lo-fi nature of the prints is a decisive gesture against the image as a precious object. Each print is then saturated with chemicals, left in the rain, and manipulated by hand. This cumulative process results in the colors of the images seeping into the backs of the prints. The images are then flipped over, cut-up, and reassembled. From these photographs of physical landscapes, psychological spaces begin to emerge. Abstract fragments and scraps of opaque evidence recall open-ended moments from Jordan’s lived experience. All that is seen of the original photographic base is the hazy nebula of colors that have bled onto the backs of each print. 

Find out more HERE

 

Ryan Oskin, Subdivision

April 8th – May 11th, 2017

In the project Subdivision, Oskin utilizes architectural renderings – found posted in the public space enclosing worksites throughout New York – to create new blueprints for each site. These blueprints are made into vinyl prints that interrupt and create new spaces within the gallery. The translation of buildings from a two-dimensional surface to a physical entity by architects is mirrored in Oskin’s practice. 

Find out more HERE

 

Alex Kwok, Land's End

May 13 – June 21, 2017

Land’s End is the edge of the oceans, where the land and the sea collide. These are remnants of relentless conflicts between the two elements. With his feet in the ocean looking back towards the land, Alex photographs an earth under continuous erosion. Like lovers, water confronts the land, water caresses the land, and nevertheless water needs the land. The combination of a close up, rotated frame defines seemingly extraterrestrial landscapes, eliminating the tremendous weight and force of the depicted. Land’s End, thus, is as much landscapes of nature as it is portraits of a relationship between the two forces.

Printed on Japanese rice paper, each photograph is rinsed with the ocean water it is geographically taken in. The photographs are then crumbled by hand and sequently released by the material’s inherent tension. Not only does the crumbling references the subject matter, it simultaneously highlights the print’s tactility. The distorted dimensions of the photographic print speaks to the difficulty in the empiricist desire of measuring. The treatment of the photograph makes it dimensionally variable, the same way the land is in a sublime, permanent, and yet, malleable state.

Find out more HERE

 

PHOTO LONDON 2017

May 17 – 21, 2017, Somerset House, London

In our European Art Fair debut, Rubber Factory is pleased to present an exploration of singular photographic works challenging the notion of photograph as reproducible through Alex Kwok’s “Light Inflection” and Moira McDonald’s “Pacifica” at PHOTO LONDON 2017. 

Moira McDonald places her darkroom trays out overnight to collect small puddles of the clouds to dip her silver papers in. They were then exposed on an overcast day until the fog was either absorbed by the paper or evaporated back into the atmosphere. These photographs are traces of automated nature, of collecting and letting go, of natural breath, of process and of intervention, participation and engagement within the landscape.

In “Light Inflection”, Alex Kwok mimics this cyclical, self referential exploration of the photographic medium except here the fluid, digital future is the counterpoint to Moira’s indexical, analog past. In the simplest sense, these elusive photographs by Alex Kwok explore the rendering of light within the photographic process and the way our brains process this visual information. Kwok begins by photographing a white backdrop with a number of lights equipped with specific color balancing filters, to create a gradient representing the human visible light spectrum in terms of color temperature. These photographs of light are also printed as if they are shadows, further accentuated by its sculptural element. The resulting overall effect blurs the line between image and object. Further, Kwok avoids describing works such as these as abstract since they render a complex and meticulous process concrete. The deferred process of recognition elicits creates uncertainty in our definition of what a photograph can be.

Find out more HERE

 

Kate Stone, As It Was (As It Were)

June 24 - August 1, 2017

RUBBER FACTORY presents a solo exhibition of new works by Kate Stone from her "As It Was" series. As It Was (as it were) is a mixed media installation that uses photography, drawing and construction materials to dissect the psychological space of memory - specifically the memory of  home. It blends the familiar with the unfamiliar to challenge associations we have with common architectural structures. The installation celebrates memory’s inaccuracies, its narrative gaps and the way we put the pieces together.

Find out more HERE