Jen DeNike and Katherine Bradford

Being Like Water

January 13 - March 10, 2018

Waves lap, clairvoyant muses loosed upon with hatched resonance swing into the ether.

Swans gathering, apocalyptic dreams, deeper now hear the tide. Remember you are half water.1

She, swimming among pearls and old bones2, praying to reverent curves. Utopian refuge and secret conduits flood the invisible. Femme fatale fill my tilting horizon, your painted observations hold true.

Hypnotic rhythm, migratory birds shifting in the deep, a well, and oceans traversing, the landscape pulls. The velocity of my stars gather, escaping the core of that black hole, a daughter’s hope and recognition, only existence.

Eden slips, she tethers, angels provoke, wave jumper3 murmurs a slow refrain. Longing for holy water4, revolution come, future hither. My analemma looks for your moon, while Sirens shimmer in that mirage waxing with hope.

Internal voices lapping still, to the place in her, I, she, we, is it real or imagined?

Anat Ebgi is pleased to announce Being Like Water, an immersive site-specific installation featuring Jen DeNike and Katherine Bradford at AE2. The exhibition includes DeNike’s new film Queen of Narwhals with four new paintings by Bradford. This collaborative installation grew out of a dialog between the artists and their mutual interest in the universal and psychological quality of water as a prevalent element in both their work.  An opening reception will be held Saturday Jan 13, 6-8pm and will be on view until March 10, 2018.

Jen DeNike‘s work is currently on view at Generation Loss a year-long installation of seminal film and video works at Julia Stoschek Collection Dusseldorf curated by artist Ed Atkins and at Beth Rudin DeWoody’s new private museum The Bunker, West Palm Beach. Her video work is in numerous private and public collections including The Museum of Modern Art. She has been exhibited internationally including; Participant Inc, KW Berlin, 54th Venice Biennale, Garage Projects Moscow, Eastman House, Franklin Street Works, Zendai Museum of Modern Art, Shanghai, MOCA Toronto, MACRO ROMA, Tensta Konsthall Sweden, MoMA PS1, CCS Bard Hessel Museum. Commissioned projects include; Bombay Beach Biennale, Capri by Night – Schauspiel Köln Opera house, LAND Los Angeles Nomadic Division, Creative Time, Performa Biennial, PopRally MOMA, FairPlay, and Miami Art Basel Film Program.

Katherine Bradford is a New York based painter who spends summers on the coast of Maine. In 2011 Bradford was awarded a Guggenheim Fellowship, and in 2012 a Joan Mitchell Grant. Last year Bradford was Senior Critic for the MFA painting program at the Yale School of Art in New Haven. Her work is in several public collections, including the Metropolitan Museum of Art, The Brooklyn Museum, The Hall Foundation, and the Portland Museum of Art (ME and OR). Recent exhibitions include a solo exhibition at the Modern Art Museum of Fort Worth, Fort Worth, Texas; Sperone Westwater, NY; Monica De Cardenas, Milan; CANADA, NY; Adams and Ollman, Portland, OR; and is currently included in Prospect 4, New Orleans. Bradford is represented by CANADA, NY and Adams and Ollman, Portland.

__________________
1 Atwood, Margaret, The Penelopiad, 2005.
2 Woolf, Virginia. The Voyage Out, 1915.
3 Drexciya, Aquatic Vision, Wave Jumper, 1994.
4 Didion, Joan. Holy Water, 1971.

__________________

Scott Haggart, sound producer of Queen of Narwhals, has created a unique site-specific sound installation for Being Like Water at AE2 in collaboration with Jen DeNike incorporating an extraordinary music playback system for the film’s soundtrack.

Scott Haggart was born in Scotland. His sound-art challenges the listener with phenomenological sounds of particular environments and difficult beauty and has been shown and performed broadly throughout Britain, Europe and USA. From 1997 – present as a member of Scottish art collective Diskono, he has released music by Boards of Canada, Felix Kubin, Francisco Lopez, Goodiepal, Hrvatski, JaDa, People Like Us, V/Vm, and Aavikko. The Wire Magazine described Diskono as a “Scottish multi-media cabal masquerading as a record label.” His lifelong composition project 1:17 (originally one minute and seventeen seconds in length) was first released by Diskono in 2008, had a subsequent follow up 1:17, then released by Gagarin in 2014, with a third 1:17, released by Cosmic Volume in 2016.

For 20 years, Haggart has paralleled his sound-art work as an expert in the hi-fi industry with manufacturers such as Wilson Audio, Avalon Acoustics, MSB Technology, Mytek Digital, D’Agostino Master Audio Systems, VTL (Vacuum Tube Logic), and Transparent Audio Laboratory where he has designed and implemented hundreds of state-of-the-art music systems for private clients. As a bridge between the (sound)art and audiophile worlds, he developed the platform Avant-garde Curfew, a series of sound presentations at undisclosed locations using some of the worlds most advanced music playback technology setup and voiced by him for invited guests.

The sound installation was generously supported by Wilson Audio, Mytek Digital, Transparent Audio Laboratory, and Audio Element.

Gerwin, Daniel, “Two Fresh Takes on Portraying Female Bathers in Art,” Hyperallergic Magazine, February 7, 2018.

Osberg, Annabel, “Jen DeNike and Katherine Bradford,” Artillery Magazine, January 24, 2018.

“Being Like Water,” Wall Street International, January 30, 2018.

Being Like Water

EXHIBITION TEXT

PRESS

Jen DeNike, Katherine Bradford, Being Like Water, Installation view, 2018
Jen DeNike, Katherine Bradford, Being Like Water, Installation view, 2018
Jen DeNike, Katherine Bradford, Being Like Water, Installation view, 2018
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Katherine Bradford
Swimmer Under Planets, 2017
Acrylic on canvas
40 x 60 inches
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Katherine Bradford
Floater for Queen of Narwhals, 2017
Acrylic on canvas
11 x 14 inches
Jen DeNike
Pendulum, 2018
Single channel video projection
Loops continuously
Edition of 3
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Katherine Bradford
Glass Ceiling, 2017
Acrylic on canvas
80 x 68 inches
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Katherine Bradford
Red Lips, 2017
Acrylic on canvas
40 x 30 inches
Jen DeNike
Being Like Water, 2018
Video painting
Loops continuously
Edition of 3
Katherine Bradford, Swimmer Under Planets (detail), 2017
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Jen DeNike, Queen of Narwhals (film still), 2018
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Jen DeNike, Queen of Narwhals (film still), 2018
Jen DeNike
Queen of Narwhals, 2018
3 channel video installation, color and sound
Dimensions variable
10 minutes
Edition of 3
Katherine Bradford, Glass Ceiling (detail), 2017
Jen DeNike, Queen of Narwhals (film still), 2018
Katherine Bradford
Floater for Queen of Narwhals (in Queen of Narwhals installation), 2017
Acrylic on canvas
11 x 14 inches
Katherine Bradford, Floater for Queen of Narwhals (detail), 2017
Jen DeNike, Queen of Narwhals (film still), 2018

EXHIBITION TEXT

Waves lap, clairvoyant muses loosed upon with hatched resonance swing into the ether.

Swans gathering, apocalyptic dreams, deeper now hear the tide. Remember you are half water.1

She, swimming among pearls and old bones2, praying to reverent curves. Utopian refuge and secret conduits flood the invisible. Femme fatale fill my tilting horizon, your painted observations hold true.

Hypnotic rhythm, migratory birds shifting in the deep, a well, and oceans traversing, the landscape pulls. The velocity of my stars gather, escaping the core of that black hole, a daughter’s hope and recognition, only existence.

Eden slips, she tethers, angels provoke, wave jumper3 murmurs a slow refrain. Longing for holy water4, revolution come, future hither. My analemma looks for your moon, while Sirens shimmer in that mirage waxing with hope.

Internal voices lapping still, to the place in her, I, she, we, is it real or imagined?

Anat Ebgi is pleased to announce Being Like Water, an immersive site-specific installation featuring Jen DeNike and Katherine Bradford at AE2. The exhibition includes DeNike’s new film Queen of Narwhals with four new paintings by Bradford. This collaborative installation grew out of a dialog between the artists and their mutual interest in the universal and psychological quality of water as a prevalent element in both their work.  An opening reception will be held Saturday Jan 13, 6-8pm and will be on view until March 10, 2018.

Jen DeNike‘s work is currently on view at Generation Loss a year-long installation of seminal film and video works at Julia Stoschek Collection Dusseldorf curated by artist Ed Atkins and at Beth Rudin DeWoody’s new private museum The Bunker, West Palm Beach. Her video work is in numerous private and public collections including The Museum of Modern Art. She has been exhibited internationally including; Participant Inc, KW Berlin, 54th Venice Biennale, Garage Projects Moscow, Eastman House, Franklin Street Works, Zendai Museum of Modern Art, Shanghai, MOCA Toronto, MACRO ROMA, Tensta Konsthall Sweden, MoMA PS1, CCS Bard Hessel Museum. Commissioned projects include; Bombay Beach Biennale, Capri by Night – Schauspiel Köln Opera house, LAND Los Angeles Nomadic Division, Creative Time, Performa Biennial, PopRally MOMA, FairPlay, and Miami Art Basel Film Program.

Katherine Bradford is a New York based painter who spends summers on the coast of Maine. In 2011 Bradford was awarded a Guggenheim Fellowship, and in 2012 a Joan Mitchell Grant. Last year Bradford was Senior Critic for the MFA painting program at the Yale School of Art in New Haven. Her work is in several public collections, including the Metropolitan Museum of Art, The Brooklyn Museum, The Hall Foundation, and the Portland Museum of Art (ME and OR). Recent exhibitions include a solo exhibition at the Modern Art Museum of Fort Worth, Fort Worth, Texas; Sperone Westwater, NY; Monica De Cardenas, Milan; CANADA, NY; Adams and Ollman, Portland, OR; and is currently included in Prospect 4, New Orleans. Bradford is represented by CANADA, NY and Adams and Ollman, Portland.

__________________
1 Atwood, Margaret, The Penelopiad, 2005.
2 Woolf, Virginia. The Voyage Out, 1915.
3 Drexciya, Aquatic Vision, Wave Jumper, 1994.
4 Didion, Joan. Holy Water, 1971.

__________________

Scott Haggart, sound producer of Queen of Narwhals, has created a unique site-specific sound installation for Being Like Water at AE2 in collaboration with Jen DeNike incorporating an extraordinary music playback system for the film’s soundtrack.

Scott Haggart was born in Scotland. His sound-art challenges the listener with phenomenological sounds of particular environments and difficult beauty and has been shown and performed broadly throughout Britain, Europe and USA. From 1997 – present as a member of Scottish art collective Diskono, he has released music by Boards of Canada, Felix Kubin, Francisco Lopez, Goodiepal, Hrvatski, JaDa, People Like Us, V/Vm, and Aavikko. The Wire Magazine described Diskono as a “Scottish multi-media cabal masquerading as a record label.” His lifelong composition project 1:17 (originally one minute and seventeen seconds in length) was first released by Diskono in 2008, had a subsequent follow up 1:17, then released by Gagarin in 2014, with a third 1:17, released by Cosmic Volume in 2016.

For 20 years, Haggart has paralleled his sound-art work as an expert in the hi-fi industry with manufacturers such as Wilson Audio, Avalon Acoustics, MSB Technology, Mytek Digital, D’Agostino Master Audio Systems, VTL (Vacuum Tube Logic), and Transparent Audio Laboratory where he has designed and implemented hundreds of state-of-the-art music systems for private clients. As a bridge between the (sound)art and audiophile worlds, he developed the platform Avant-garde Curfew, a series of sound presentations at undisclosed locations using some of the worlds most advanced music playback technology setup and voiced by him for invited guests.

The sound installation was generously supported by Wilson Audio, Mytek Digital, Transparent Audio Laboratory, and Audio Element.

PRESS

Gerwin, Daniel, “Two Fresh Takes on Portraying Female Bathers in Art,” Hyperallergic Magazine, February 7, 2018.

Osberg, Annabel, “Jen DeNike and Katherine Bradford,” Artillery Magazine, January 24, 2018.

“Being Like Water,” Wall Street International, January 30, 2018.