Saturday, May 11, 2013

Conversation with Tracey Goodman and exhibition curator Joanna Kleinberg Romanow: 6:30pm

Opening receptions: 7-10pm

Jillian Mayer: Precipice/PostModem

Project Room: Tracey Goodman & Valerie Snobeck: Out of Place
Curated by Joanna Kleinberg Romanow, Assistant Curator, Drawing Center, NY

Thursday, May 16, 2013

Conversation with Jillian Mayer: 7pm

Exhibitions on view through June 19, 2013

Gallery Hours: Tuesday-Saturday, 10am-5pm


Now celebrating its 15th year of exhibiting experimental contemporary art, Locust Projects is pleased to present Precipice/PostModem by Miami-based artist Jillian Mayer. Mayer is known for eclectic video installations that compress virtual, cinematic, and physical space. This will be Mayer’s largest exhibition to date, passing fluidly from cinema to installation in both the physical and digital realm while incorporating interactive and technological elements to create a nonlinear meta-narrative.

The exhibition will feature sculptural and installation work satirically exploring the concept of a technological singularity, the theoretical moment in time when the boundary between human and machine no longer exists. Mayer uses comedy as a means to inspire introspection about technology’s place as a surrogate for spirituality in our lives, and implies that it is quickly becoming much more, regardless of whether or not the predictions of futurists like Ray Kurzweil come to fruition. The various pieces of her show explore the ramifications of this impending change, from angles that range from sociological to parodic to sublime.

Works include A Place for Online Dreaming, an installation with performance, linked to an interactive website at as well as Swing Space, another video installation featuring several performers on swings above the gallery floor, transfixed by a projected digital reality; and For U, a sculpture that exists in augmented reality and can only be fully seen through a custom smartphone app. Other works will include self-aware paintings, faux infomercials, and poorly articulated androids constructed of digital tablets and Roomba vacuum cleaners.

Precipice/PostModem builds on a body of work that began with the experimental short film #PostModem which premiered at the Sundance Film Festival in 2013 and was later featured in an independent film retrospective at MoMA in New York as part of the Carte Blanche series.

Jillian Mayer is a Cuban-American artist living in Miami. In 2010, her video Scenic Jogging was one of the 25 selections for the Guggenheim’s Youtube Play: A Biennial of Creative Video and was exhibited at Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice, Italy; Guggenheim Museum, Bilbao, Spain; and Deutsche Guggenheim, Berlin, Germany. Recent solo projects include Family Matters at David Castillo Gallery, Miami (2011), Love Trips at World Class Boxing, Miami (2011), and Erasey Page at the Bass Museum of Art, Miami Beach (2012). Mayer is currently at work on an artist book to be released by [name] Publications. Her video works have been premiered at galleries and museums internationally and film festivals such as SXSW and Sundance. She was recently featured in Art Papers and in ArtNews discussing identity, Internet and her artistic practices and influences. Mayer is a recent recipient of the prestigious South Florida Cultural Consortium’s Visual/Media Artists Fellowship 2011, Cintas Foundation Fellowship 2012, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. She has been awarded the Elsewhere Residency as a NEA Southern Constellation Fellow and the Zentrum Paul Klee Fellowship in Bern, Switzerland for 2013. In 2014, Mayer will have a solo show at the Utah Museum of Fine Arts as part of the Salt Series. Mayer is represented by David Castillo Gallery, Miami, FL.


Now celebrating 15 years of exhibiting experimental contemporary art, Locust Projects is pleased to present Out of Place, a two-person exhibition in the Project Room curated by Joanna Kleinberg Romanow, Assistant Curator, The Drawing Center, New York. The exhibition features Tracey Goodman and Valerie Snobeck, two contemporary practitioners invested in spatial critiques through site-specific installation. Both artists utilize space—exploring it as both a site of restriction and liberation—to create distinctive, environmental footprints that present philosophical ideas about how we encounter the world.

Snobeck looks to Miami’s ocean front as inspiration for En Femme 7, an abstraction on handmade paper derived from peeling the plastic laminate off photographic prints recycled from the artist’s archive. The small drawing rests on a low plinth custom-built to the same dimensions of an opened “ostrich” beach chair–a gesture that is suggestive of a supine sunbather. The chaise-like platform evokes Miami’s shoreline as well as the debris often spotted at the beach (i.e. plastic bottles and bags). With nearly eighty percent of marine litter being plastic, Snobeck poses a more profound question about how we experience the natural world. En Femme 7 extends into the area’s neighboring beaches and asks the viewer to consider its’ out-of-place plastic—should it remain as is, accumulate or be removed? In this, Snobeck arms the viewer with an observable reality suffused with infinite interpretation.

For Goodman, the process often involves making casts or imprints of her physical surroundings. She develops a personalized narrative in response to the everyday detritus that she happens upon. As Goodman puts it, “The fragments left from specific events or experiences, these are the bits of information I am interested in, for what they can tell us about who we are and where we come from.” For this exhibition, Goodman cuts a window-sized hole directly into the gallery’s wall, which she embeds with tropical flowers and fruits indigenous to the region. There is a long time in me between knowing and telling (Grace Paley), stems from the artist’s experience of walking around Miami’s design district where she discovered a number of over-grown residential backyards. The lush environs to Goodman felt like an extension of a domestic dwelling, which she captures in the playful inclusion of vegetation amongst the concrete gallery—defining the space, but also eating away at it. There is a poetics to this sculptural reversal: to conceal is to reveal, and the border between inside and outside comes undone.

Out of Place showcases two carefully calibrated installations that necessitate a spatial consciousness achieved through embodied movement and a sustained vision. Both artists’ inquiries into the relationships between the edifices, colors, and vistas that they encounter open up to a purified way of understanding and traversing the world, in which location becomes a site of habitation as well as existence.

Images from left to right:

Tracey Goodman
There is a long time in me between knowing and telling (Grace Paley) (detail), 2013
Chewing gum, table, found objects, plaster, joint compound and local plant material
Dimensions variable

Valerie Snobeck
02.01.2013, Miami, Florida U.S., Site Visit to Locust Projects
View of the parking lot from the garage door of the project room

Tracey Goodman (b. 1970, Warren, OH) is a Brooklyn-based artist who received an MFA from New York University in 2009 and a BS from the Rochester Institute of Technology in 1996. She was recently the focus of a solo exhibition at Regina Rex, Queens (2011), and her work has been included in various group exhibitions including the Freedman Gallery, Albright College, Reading, Pennsylvania (2012); Court Square Gallery and Project Space, Long Island City, Queens (2011); and St. Cecilia’s Convent, Brooklyn, New York (2010).

Valerie Snobeck (b. 1980, Wadena, MN) is a New York–based artist who received her MFA from the University of Chicago in 2008, her BFA from Saint Cloud State University, Minnesota in 2003 and studied at Palacky University, Czech Republic in 2009. Her recent solo exhibitions include Kiehle Hall, Saint Cloud University, Minnesota (2013); The University of Chicago Smart Museum of Art (2012); Le Consortium, Dijon, France (2012); ESSEX STREET, New York (2012); Galerie Catherine Bastide, Brussels, Belgium (2011); and the University of Delaware Art Museum (2011).