Previous Exhibitions 2013  > history
Exhibitions 9 January – 9 February 2013
Nathaniel Robinson

Nathaniel Robinson
Outer Air

Outer Air, an exhibition of new work by Nathaniel Robinson, opens at Feature Inc. on 9 January and continues through 9 February. Distinctions between knowledge and perception and inside and outside are some of the basics that amusingly manage the resonance of this work. The inter-relatedness of the objects and installations and their juxtaposition of such things as scale, status, context and meaning encourage an understanding of identity as mutable rather than fixed.

Nathaniel Robinson began exhibiting with Feature Inc. in 2009 and this is his second one-person exhibition with the gallery. He has a 2002 BA from Amherst College and a 2005 MFA from The School of the Art Institute of Chicago. Nathaniel Robinson was born in Rhode Island in 1980, and currently lives in Brewster NY.

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Exhibitions 15 February – 16 March 2013

RICHARD BLOES’s objects generally appear as loosely assembled elements from store-bought self- assembly kits, woodshop scraps, and found performance props that are anachronistically punctuated with the hard edge and movement of a video. In actuality the objects are highly organized sequences of things and stuff that are manipulated by friends and family according to a script by the artist, who documents the action in real time on video.
As the artist noted: “Reading Chair For Don Quixote Reading is a 4.5 min video shot in one continuous take. It is meant to be shown as an installation (in company with the sculpture that was used to make it) or on a monitor (in portrait mode). The piece imagines Don Quixote’s reading chair as a place where actions are separated from the mind, perceptions only realizing themselves in a
crash of physical reality into the windmill. Or as a place where the long shadow of Cubism must be fought, where Cubism is the windmill monster to be attacked. Or where outdated modes/ technologies pile up every day like the old codes of knighthood. The piece is also a place of
interaction between the physical world, the electronic image world, and human motion (in the piece, all objects are moved by a crew of five people). On cut-out strips of typed paper, dangling like a fishing lure in front of a chair with no legs, are the titles of the books about knighthood that Don Quixote read too much of. Many of these books were burned, in the Cervantes’s novel, in an effort to keep Don Quixote sane. They formed the identity/delusions of the ‘knight of the sorrowful face.’”

Richard Bloes was born in Waterloo, Iowa and received an MFA
from the University of Iowa. This will be his seventh exhibition at Feature Inc. The installation was made possible with an Individual Artist Grant, Pollock-Krasner Foundation, Inc., with special thanks to: Charles Addotta, Joel Bacon, Caitlin Driscoll-Bloes, Robert Ingraham, Robert Schefman.

Richard Bloes

> Bloes exhibition images Reading Chair For Don Quixote Reading, 2012 (detail)

For many years, JENNIFER SIREY has been cultivating bacteria to produce some of the elements of her sculpture. Her most recent water-filled glass tanks are penetrated by bulbous hand-blown glass tubes and as well, irregularly divided up by angled sheets of bacterial growth. On one level the sculpture is a highly aestheticized formal abstraction and on another it is a gnarly investigation into the body. In these particular works, to create the angled sheets, Sirey fills the tank to a predetermined level with a mixture of her mother culture and wine or sake, then tilts the tank so that the surface of the liquid aligns to the armature of small monofilament loops attached to the glass. After a few days, the bacteria Acetobacter (the same bacteria used to convert wine into vinegar) begin to attach to the armature and soon form a skin on the liquid’s surface. Once the membrane reaches the desired thickness, the tank is carefully drained and replaced with water mixed and white vinegar to stabilize the environment. The final piece is alive but in a state of hibernation.

Sirey was born in Brooklyn, New York and received her BFA from the School of Visual Arts, New York, in 1990. This will be her second show at Feature Inc.

> Sirey exhibition images


  Mollusc, 2011

Upfront hosts a BOBBIE OLIVER painting, Summer Triptych 1 (2012), which veils and reveals the mutability of its development and redevelopment.

Oliver studied at the Center for Creative Studies, Detroit, and St. Alban’s School of Art, England, and lives and works in New York City.

.> Oliver exhibition images


  Summer Triptych I, 2012
Exhibitions 22 – 24 March 2013


Celebrating all that is spring, Amo Legomandala combines the Tibetan Buddhist ritual of creating and destroying meaningful and ornate sand mandalas with the playful building, rebuilding, and dismantling of LEGO block structures. The project is an opportunity to become aware of our contribution to collaborative change.

After a day-long viewing on Saturday, all are invited to visit on Sunday the 24th and be the force of change as we celebrate the material impermanence of all things by transforming the unified intentionality of Amo Legomandala into a sea of parts and personal expression.

Kylin is a Brooklyn-based artist and a Chinese mythological unicorn. She was born in NYC in 1972, holds a degree in philosophy from Vassar College and a degree in illustration from Leeds Metropolitan University in the UK. She has exhibited nationwide and taught art and design internationally. In addition to her studio practice, she is currently directing multiple collaborations, installations, stealth projects, and the public street-art initiative, The Monster Project.

Amo Legomandala was made possible with funding fromThe Awesome Foundation and Hess-Slavins, with special thanks to Chris Jordan, Jillian Siegel, Phoebe Joynt, and Matthew Cleary.

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Exhibitions 27 March – 28 April 2013

DAVID DEUTSCH: Neighbors and Strangers

While these recent paintings by David Deutsch appear extremely different from those of the last 25 years, continuity can be seen in their combining of abstraction and representation, the perspective of surveillance or observation, and sense of the impending. With regard to his occasional but notable rotunda paintings, 16 or so painted between 1989 and 2003, the connection is most simply the figure within a container.

These recent paintings are transfers and as such are related to the painting process for David’s plywood paintings from the early 70s. They are painted in acrylic on plastic sheeting, allowed to dry, an appropriately sized canvas is primed with a medium, and the plastic sheeting is placed paint surface down onto the primed canvas, smoothed and let to set for a day or two and then peeled away. The painted image has been absorbed into the medium covered surface of the canvas and the pulled plastic is again clear. This reversal is a distancing process, a device similar to checking out the strength of a painting’s form by looking at it upside down or in a mirror, and as well allows a myriad of seams, creases, ridges, and distressed surfaces that occur during the printing process to undermine the expressionist brush work of the so called painting. These qualities lure us into inspecting the paint application and separate us from the subject matter. Yet once we enter the physical uncertainty of the materiality we find that this alternate universe is indeed embedded in the other.

The new in these David Deutsch paintings is based in the loose expressiveness of the hand creating the passages of paint that build the muddy emotional weather and flimsy structures in which the colorful


Sunset, 2013

populated instances float. The immediacy of the paint application parallels the diminishing distance between the observed and the observer. Yet despite this proximity to intimacy, he and we still remain deeply, humorously, and helplessly distanced and uncertain of relationships, their outcomes, and their meanings. There is no closure.

David Deutsch was born in Los Angeles in 1943 and attended the University of California, Los Angeles, and the California Institute of the Arts, Los Angeles. I’ve been a fan of his paintings since his mid 80s exhibitions at BlumHelman Gallery and am delighted to host his first solo show at Feature Inc.

> exhibition Images

> upfront Images
Exhibitions 1 May – 2 June 2013



Gallery: DIKE BLAIR Sculpture

Dike Blair’s recent sculpture conflates painting and sculpture, packing and crating. There are also references to wall treatment, graphic design, and the humanity and imperfection of the hand made, as well as a play between figuration and abstraction. Framed paintings on paper are displayed on upright, wooden, cratelike sculptures and when the works are in storage or transport the artworks are stored within. In some of the pieces, the front panel of the crate is removed and laid on the floor directly in front of the sculpture, much like a tongue sticking out of a mouth. In these instances, the display of the empty white interior adds a discussion of the qualities of and relationships between inner and outer lives. Dike Blair was born in New Castle, Pennsylvania in 1952 and currently lives in New York City. He attended University of Colorado, Skowhegan School of Painting and Sculpture, Whitney Museum Independent Study Program, and received his MFA from School of the Art Institute of Chicago. Hebegan exhibiting with Feature Inc. in 1997 and this is his fifth one-person exhibition with the gallery.

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Dance, Dance, Dance, 2011  


Eve Fowler & Sam Gordon present an installation of posters that play with the similarities and differences of information, advertising, poetry, graphic design and art. Throughout the installation, Gertrude Stein’s early modernist poetry rubs elbows with contemporary posters designed by artists. Eve Fowler was born in Philadelphia in 1964 and currently lives in Los Angeles. Sam Gordon was born in Brooklyn in 1973 and currently lives in Brooklyn.

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Installation View  
Cloth made more interesting by people

Cloth made more interesting by people

> Magic Flying Carpets of the Berber Kingdom

> Jhola Bags by 5 Year Plan

> Potholders by Mary Clarke

> T–Shirts by Deli Grocery Specialty Products

clockwise from top left:Magic Flying Carpets of the Berber Kingdom, Jhola Bags by
5 Year Plan, Potholders by Mary Clarke , T–Shirts by Deli Grocery Specialty Products
Exhibitions 13 June– 2 August, 2013

Gallery: i want that inside me

sexual inuendo intended butt not limited to. its not just limited to sticking xxx things in dwn xxx there, its also abt up here where we are sticking !!! things inside ourselves and others 24/7. r willing and enormous capacity to deliver and receive. eyes, ears, nose and mouth are open, feeding and being fed. we r intimate with what we encounter and spew. what we put r attention on goes deep. perceiving is eating. let the right ones in.

this june's i want that inside of me grew out of last june's i am not monogamous i heart poetry. selection was made from differing perspectives, yet i consistently worked against title and chose suggestive over obvious, abstract over representational, quieter over noisy, multiplicity over simplistic, absorbing over pushy. and it had to be paper, it's more immediate, has less baggage, and is easier to eat than a painting, sculpture or a video. 15 artists, 1 work each, 7 guests, 8 feature regulars.

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  i want that inside me, istallation view
i want that inside me, 2013: installation view

Upfront: Evie Falci

Evie Falci dazzles the upfront downtown style with her rhinestones on denim. She was born in Brooklyn, attended Maryland college of art, and currently lives in Brooklyn

> upfront image

  i want that inside me, istallation view
Wall, 2013
Exhibition 4 September – 12 October 2013


Gallery: RICHARD KERN Medicated, etc.

With a smile, Feature Inc. opens its 2013-2014 season with Medicated, etc., recent photographs and video by Richard Kern.

Richard Kern has been taking sexy photographs of girls of the “hot” or “interesting” girl-next-door variety for over 30 years. The photographs are straightforward, hint at documentary, and seem committed to the matter-of-fact reality of the day-to-day. Yet the consistently subtle sense of humor, styling, and color make it obvious that the artist has been involved in the construction of the image. And with the situating of the upfront sexuality of models/performers/entertainers within rather mundane settings he establishes a dialog between inner and outer life, private and public lives.

On one side of the gallery each 40 x 30” photograph presents a standing girl facing the camera in some arrangement of bra/panties/naked. She is in her bathroom, counter scattered with personal care items, sink and mirror behind, lighting fixture above. Holding up one or both hands, she displays her prescription meds. Everything is clear and unambiguous: part personals ad, part infomercial, and part performance art.

Hanging on the opposite wall, each girl is seen in a 40 x 30” waist-up portrait in three-quarter view wearing a simple white blouse and a smile. The toned down color of both the figure and the ground allows the two to blend into one another, and is much like the color and resolution of early linticulars. In an off-register, softly blurred double exposure that nears an amusingly simplistic sense of 3-d, we see the girl both naked and clothed. Is she bewitching us? Is it our glasses, our medication, wishful thinking, sexual desire?

Richard Kern was born in Roanoke Rapids, North Carolina in 1954 and attended University of North Carolina at Chaple Hill for his BFA, 1977. He lives in New York City. His photographs and films have been exhibited nationally and internationally, and numerous monographs have been published: Richard Kern: New York Girls, Purr Books, London, 1995; New York Girls, Taschen Books, Cologne, 1997;  Model Release, Taschen Books, Cologne, 2000; Richard Kern, Charta, Milan, 2000; XXModels, Fiction Inc. Books, Tokyo, 2001; Action, Taschen Books, Cologne, 2007; Looker, Harry Abrams Books, New York, 2008; Shot by Kern, Taschen Books, Cologne, 2013; and most recently Contact High, PictureBox, New York, 2013.

> exhibition Images     > video trailer for Medicated, directed by Richard Kern
Alex dbl, 2013
Exhibitions 17 October – 16 November 2013


Eat Out evolved out of David Shaws questions surrounding our relationship to nature, his ongoing interests in sculpture as furniture/furniture as sculpture and what he sees as the permeable interface between matter and consciousness.

Tree limbs stand to support a landscape which is a table top, which is a wood framed mirror that by reflecting doubles its holdings, some of which are functional tableware, some of which are sculpture, and all of which are hand-blown glass. The glass is clear, so discussions of boundaries, transparency, appearance, and disappearance bubble up, and the line between these glass entities and their reflections is a lesson in discernment. Ditto for the distinguishability between sculpture and functional tableware. Many of these tabletop objects have limbs, projections, or emissions that burst or shoot out from a central form into the surrounding space, part celebration, part aggression, and perhaps part an attempt at reproduction. As well there are tree limbs, which come up from under and break through the mirror tabletops and establish a presence in the sky above. When looking into the sculpture, especially while seated for a dinner party and comparatively colorful and animated by our drinking, chewing, swallowing, and talking, we have an opportunity to opt out of the narcissistic interest in our reflection and be reminded that despite our intrusive presence in this still and ghostly landscape, we are indeed an integrated part of it.



David Shaw was born in Rochester NY in 1965 and currently lives and works in Brooklyn. He attended Colgate University for his BA, 1987, and attended School of Visual Arts, NY, also in 1987 (unmatriculated). He began exhibiting with Feature Inc. in 1990 and this is his 7th solo exhibition with the gallery.

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JESSE BRANSFORD: Aqua/Sal (for David Shaw)

Jesse Bransford has been engaged in graphically interpreting and recontextualizing images and information from occult, esoteric, and alternative belief systems. Recently he has moved from the theoretical position of his works on paper to a more practical one of developing and performing rituals to effect change. Using a synthesis of several magical systems, Aqua/Sal is a site-specific installation and rectification ritual for the artist David Shaw and seeks to realign Shaw’s historical dissonance with water and the watery forces in his life. 

Jesse Bransford was born in Atlanta in 1972 and attended Parsons School of Design, NYC, for his BFA, 1996, New School for Social Research, NYC, for his BA, 1996, and Columbia University, NYC for his MFA, 2000. He began exhibiting with Feature Inc. in 1997, and currently lives and works in Brooklyn.

> upfront images

  JESSE BRANSFORD: Aqua/Sal (for David Shaw)
Exhibition 21 November – 22 December 2013


KINKE KOOI: The FLower and her Inner Focus

Feature Inc. ends the year with the flower and her inner focus, recent works on paper by Kinke Kooi, and an Upfront project by Ned Snider. Text, narrative, and line are the elements that brought together the two exhibitions, which opened on 21 November and continue through 22 December 2013.

During an opening-day discussion between Kinke Kooi and Hudson, the artist said:
“For me, in a strange way, decoration has to do with making connections. That’s why I fill in spaces in between: to dissolve opposition. To be overwhelmed by nature is to dissolve into a bigger whole. It is an inclusive situation, which for me is the same as a domestic situation.

Inviting strangers into your house can create complications. It is the same with ideas: to be open to new information also creates complications. I have always been suspicious of purity. Purity discriminates. Purity is about exclusion rather than inclusion. When one is open to guests and new ideas, it interrupts one’s autonomy. I like that thought. I want to promote hospitality.

I don’t think anybody is entirely male or entirely female. Maybe that is why I like gradients—one thing bleeding into another thing. When I was young I sometimes felt more like a male; when I had my children I became more female. Now, with menopause, I am more male again. I love this element of change.

I believe things should be allowed to mix. After I had my daughter I became more interested than ever in the images that she would see in her lifetime. I was shocked by how one-dimensional images of women still are in our culture. I call that visual loneliness. I think femininity still deserves and needs to be visualized from more perspectives. I would like to fill in these gaps in our visual information.”

Kinke Kooi was born in 1961 in Leeuwarden, Netherlands, and attended the Academy for the Visual Arts in Arnhem, where she still lives with her husband and two children. Kooi has participated in group exhibitions at the Museum of Modern Art in Arnhem, Mills College Art Museum in Oakland, California, the Yerba Buena Center for the Arts in San Francisco, and the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut, among other venues. Her work was recently on view as part of “Contemporary Surrealist Drawings from Rotterdam: The Collection of the Museum Boijmans Van Beunigen” at the Institut Néerlandais, Paris. Kinke Kooi began exhibiting with Feature Inc. in 1999 and we are excited to host her fifth solo exhibition at the gallery.

The Flower and Her Inner Focus 4, 2013


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JESSE BRANSFORD: Aqua/Sal (for David Shaw)  




Ned Snider’s abstractions take cues from text and graphic design and, with a sense of humor, push meaning away from the didactic and into the poetic. He was born in New Jersey in 1975 and attended the Maryland Institute, College of Art, for his BFA and Cranbrook Academy of Art for his MFA.

Ned Snider lives and works in New York State. His work was recently included in Feature Inc.’s summer 2013 group exhibition i want that inside me, and we are delighted to have him visiting again with this Upfront project.

> upfront images

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