Chris Coy, 05312012_00-

Chris Coy, "05312012_00-"

Chris Coy


Chris Coy’s Pseudochromes are monochrome paintings in chroma key green, the color most widely used in video production to remove and replace large areas of imagery. Paired with white tracking markers in their corners, Coy provides a surface void of image content or meaning save the provocation for the entirety of the image to itself be replaced.  The pieces presented by Coy for In Post are among the few physical objects he produces, having located much of his practice in immaterial gestures on the Internet and through the circulation of stray images.  Coy himself frequently takes images from a variety of sources and will insert subtle interventions to them in Photoshop and other image altering platforms, re-releasing them, dėtourned, onto the Internet.

In addition to a BFA in graphic design from Brigham Young University, Coy recently received an MFA from the Roski School of Art at the University of Southern California. Recent group exhibitions include Net Work I.R.L. (in this room), organized by Donnie Cervantes at Station Gallery, Los Angeles and Re:Cut curated by Michael John Kelly at the Torrance Art Museum.

Joel Holmberg, Smoke Detectors on Lattice

Joel Holmberg, "Smoke Detectors on Lattice"

Joel Holmberg


Joel Holmberg’s work spans sculpture, websites, and digital images. Imagery and forms seemingly come from any source imaginable, spanning production from all points in history, from Chinese Qing dynasty cabinets to contemporary flat panel screens. His work incorporates a variety of contemporary means of production, from 3D printing to the the very tactile process of layering inkjet cartridge ink over moulded forms. Tellingly, a past statement on Holmberg’s website read that he “creates art with computers and his bare hands.”

Holmberg is currently an MFA candidate in sculpture at Yale University. Recent group exhibitions include Rhododendron curated by Harm van den Dorpel at W139 in Amsterdam, The Netherlands and At This Writing at PM Galerie in both Brooklyn and Berlin.

Justin Kemp, Adding to the Internet

Justin Kemp, "Adding to the Internet"

Justin Kemp

In his Adding to the Internet works, Justin Kemp locates phrases which do not yet exist on Internet search engines and uses each phrase as the prompt and title for the creation of installations. When images of the work ultimately circulate on the Internet, attached to the work’s title, the phrase is effectively added to the Internet, neatly filling one void in a global index of possible combinations of language. Kemp’s playful sculptures remind us that the production of an art object is something that is readily possible given today’s access to knowledge and materials.

Kemp holds an MFA from the University of Massachusetts at Amherst as well as a BS in Photography from the University of Wisconsin La Crosse. Recent exhibitions include Internet Art Future at Intercommunications Center in Tokyo, Japan, Material Conversation at Grimmuseum in Berlin, Germany, and Like curated by Gene McHugh at VOGT Gallery in New York.

Andrea Longacre White, Not Yet Titled

Andrea Longacre White, "Not Yet Titled"

Andrea Longacre-White


Andrea Longacre-White’s practice similarly navigates a space between object and image, endlessly photographing and re-photographing prints until it becomes impossible to discern where each image began and ends. Longacre-white begins by taking a photograph, realizing it as a print, then endlessly tearing, warping, and altering the prints to be re-photographed so that the process may begin again. When presented in the gallery space, this endlessly iterative process is never presented as a linear process, emphasizing the loose and variegated relationship individuals have towards their own processes of organization and image reception.

Longacre-White received a BA from Hampshire College in 2003 and more recently attended the Royal College of Art from 2004 to 2005. Recent solo exhibitions include Pad Scans at West Street Gallery, NY and Dark Current at Rental Gallery also in NY.
Recent group exhibitions include Free curated by Lauren Cornell at the New Museum and Blind Cut curated by Jonah Freeman and Vera Neykov at Marlborough Gallery. Her work will also be exhibited in the group show Image Object at Foxy Production opening Friday, June 1st.

Adriana Ramic, Craigslist Readymade

Adriana Ramic, "Craigslist Readymade"

Adriana Ramić


Adriana Ramić’s work often deals with the way we cope with abstract and massive quantities of data and images in contemporary society. These works take form as websites, drawings, and assemblages of objects which take this surfeit of information as inspiration and spin them into aestheticized and abstruse works. Previous works have drawn from such sources as Craigslist’s image databases, data gathered on solar wind movements, and temperature data recorded and shared in the homes of internation users of the websites “Room Weather Data” and “Home Sensors.” Ramić’s Craigslist-Assisted Readymade actively searches the “Free Stuff” section on Craigslist across the United States, dynamically creating compositions of three free objects that come together to create a propositional readymade.

Ramić is a recent graduate of the University of California, San Diego’s Interdisciplinary Computing and the Arts program. This is her first exhibition in New York.

Rochelle Goldberg, "The Hero Isn't Special"

Rochelle Goldberg, "The Hero Isn't Special"

Rochelle Goldberg

(b. 1984, Vancouver, Canada, lives and works in New York)
“Skin,” 2012
Latex, adhesive medium, chrome foil, velcro
“The Hero Isn’t Special,” 2011
Plexi, chrome foil, surveillance mirror, salvaged wood, hydracal, silicone, paper
“The Plastic Impossible,” 2011
Latex, chrome foil, surveillance mirror, wood foam, hydracal, silicone, paper
Deleuze & Co.
While Rochelle Goldberg’s work may derive inspiration from philosophical or art historical referents, its driving force lies in its physicality and workmanship. “Skin,” for example, alludes to Donna Haraway’s Cyborg Manifesto, but its phenomenological impact is mediated not by any evident name dropping or overt citation, but the overwhelming energy residual from its experimental, joyful fabrication. Goldberg’s is a practice dedicated to the studio, producing works to an intimate human scale which address issues of identity and femininity through visual and constructive tropes. The artist frequently employs materials imbued with symbolism–the feminine curves and formal ruptures in “The plastic impossible” appear strapped down with bondage-like tape tinseled with futuristic chrome foil–but allows her work a playfulness that comes from both near-obsessive physical engagement and studied reflection.

Goldberg graduated from McGill University with a degree in Art History and Cultural Studies in 2006 and later studied sculpture at The New York Studio School, graduating in 2010. Recent exhibitions include III with Elaine Cameron-Weir and Robin Cameron at Martos Gallery, New York; and Better Left Unsaid at Clearing, Brooklyn, New York.

Marlie Mul, "Smoking Poles"

Marlie Mul, "Smoking Poles"

Marlie Mul

(b. 1980, The Netherlands, lives and works in Berlin and London)
“Smoking Poles,” 2011
Bamboo, copper
Deleuze & Co.
Marlie Mul’s Smoking Poles (2011) belong to a recent series of works which act as a lyrical ode to the romantic aura surrounding smoking and how this collective feeling has been affected by the proliferation of smoking bans in the past decade. Whereas much of Mul’s previous work has been made within an overt philosophical framework, wearing an academic heart on its sleeve, these pieces address more accessible emotions. Rather than referencing a Heideggerian concept of “things,” the focus returns to the materiality of objects and artistic production and processes, creating a precious object instead of a precious concept. The ashtrays have hand carved fragments of poetry, like graffiti taking out frustration with an outside power that forcefully reshaped the way we have to socialize.

Mul received a Masters Degree in Architectural Theory at the Architectural Association School of Architecture in London in 2009 and a Bachelors Degree in Fine Art from the Academy of Fine Arts in Maastricht. Recent solo exhibitions include “Stop Being So Attractive I Can’t Get Anything Done” at Autocenter, Berlin; No Oduur at SPACE, London and STUDIO, Berlin; and Your Wet Sleeve in My Neck at Galerie Lucile Corty in Paris. Recent group exhibitions include “Grouped Show” at Tanya Leighton Gallery, Berlin; “Rhododendron” at W139, Amsterdam; “Rhododendron II” at SPACE, London; and “The Smart Frrridge (Chilly Forecast for Internet Fridge)” at Kunstverein Medienturm in Graz, Austria. Mul is initiator of the online artists PDF publishing platform and teaches at the Architectural Association in London.

Steven Cairns, Untitled

Steven Cairns, "Untitled"

Steven Cairns

(b. 1983, Scotland, lives and works in Dundee / London)
“Untitled,” 2012
Paper, mounting board
Deleuze & Co.
Schlieren photography, invented by the German physicist August Toepler in 1864 to document the flow of varying densities, figures prominently in Steven Cairns’s collages as a source of illumination of that which is normally invisible. Framed, portrait-like, and superimposed over the subject, what is intended to illuminate rather obscures. Through formal interactions and juxtaposition Cairns subtly explores representation and identity.

Cairns graduated from Duncan of Jordanstone College of Art and Design in 2006, and served as the co-editor of the Scottish art quarterly, MAP Magazine, until 2011. Cairns, a regular contributor to Artforum International and frieze, is the Film Curator at the ICA London.

James Richards, "The Misty Suite"

James Richards, "The Misty Suite"

James Richards

(b. 1983, Wales, Lives and works in London)
“The Misty Suite,” 2009
Single channel video
Deleuze & Co.

James Richards’s videos are painterly, pastiche, and assembled intuitively without an overt narrative. The assemblage of footage is therapeutic in a sense, first consumed and internalized by the artist and compiled together without perceptible significance. Meaning manifests itself only later, and in an individualized manner. As with many abstract works, what one person gleans from Richards’s work differs from what another takes away, and different from what Richards, already moving on, imbues in the next thing he creates, unconsciously and viscerally.

Richards graduated from the Chelsea School of Art in 2006 and lives in London. Recent projects include a collaboration with Ed Atkins and Haroon Mirza at the Zabludowicz Collection’s Time Square location, as well as solo exhibitions at Chisenhale Gallery in London, and Rodeo Gallery in Istanbul, where he is represented.

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"

Yngve Holen

(b. 1982, Germany)


“Finger in Eye, Handle Through Brain,” 2011
Handles, 3D-printed laser scanned water, left and right contact lenses, moodboard on self-adhesive sticker foil

Images Rendered Bare. Vacant. Recognizable.


Holen’s sculptural moodboards, “Finger in Eye, Handle Through Brain,” consider information flow in the digital age through the visual metaphors of both imaging technology and the split structure of the brain. His compositions comprise stock images of materials signaling a state of dichotomy: both soft and hard, right and left, creative and logical. The poles penetrating the piece, in actuality bike handlebars, further suggest such dichotomies—the top, rigid and straight, the bottom curvy and crooked. Holen’s moodboards also allude to the long-deceased railway worker Phineas Gage, whose skull and frontal lobe were pierced by a large iron rod amidst an accidental explosion while working. Though Gage remarkably survived, his personality was drastically changed. Gage’s injury precipitated the nascent study of the human brain’s functionality in the 19th century. Combined with his “faked” scans of water (a heretofore technological impossibility), Holen gestures toward the limits of science and technology in the understanding of human behavior.

Holen studied architecture at the University of Applied Arts in Vienna, Austria and sculpture at the HfBK Städelschule in Frankfurt am Main, Germany. Recent solo exhibitions include Parasagittal Brain at Johan Berggren Gallery in Malmö, Sweden (2011) and Half Asleep to the 2010 Hot 1001 at Neue Alte Brücke in Frankfurt am Main. He was included in the survey exhibition Based in Berlin at KW Institute for Contemporary Art, and co-organizes the club night Body Xerox. With Marlie Mul, he is the co-founder and editor of the online publishing platform XYM.