© 2021 janna dyk

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    Jenna Bauer, David Brown, J Carpenter, Joshua Cave, Lia Chavez, Joshua Clayton, Dean Ebben, Jung Ah Kim, Karine Laval, Thomas Martin, Morgan O'Hara, Ned Shalanski, Kristen Studioso, Karen L. Schiff, Elizabeth Tubergen, and Shimpei Takeda.

    June 14-25, 2012
    NYCAMS Gallery
    New York, NY

    The Chelsea Music Festival is pleased to present [ON SILENCE], a group exhibi- tion of New York-based artists whose work addresses the concept of silence in visual art, using the peculiar juxtaposition of two distinctly diverse texts on si- lence: Silence, by premier Japanese novelist Shusako Endo, and the compilation of lectures by the late American composer and theorist John Cage of the same title. Via such modes as erasure, negative space, covering, absence, pause, and the like, the works, which include analog and digital photography, painting, drawing, video, sculpture, and mixed media, and many of which were realized specifically for this exhibition, address the psychological, spiritual, and spatial implications of silence. In remaining true to the festival’s mission statement, artists include a crucial combination of both “seasoned professionals, and exciting newcomers on the New York scene.”

    While these two texts represent seemingly incongruous, at times arguably dichoto- mous, perspectives on silence (that of the spiritual and psychological, alongside that of the material or chance-based) the works in [ON SILENCE] address three elements which are prevalent in both texts: the noisy and sonorous aspect of silence, the subtleties of the visceral and the natural in noting the presence of si- lence within a space, and the aspect of containment, and implicitly, potent longing, present in silence.

    As Cage notes in the section in Silence entitled “THE FUTURE OF MUSIC: A CRE- DO,” “there is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make silence, we cannot.” The works in this exhibition lie in the spectrum between this “try as we may” and the resolve to rest in the subtleties within the “something to see” through the various means of:

    subtle folds in a paper,
    to “organize,” “improvise,” a

    a transmission
    observed of
    movement, recorded
    by graphite,6 the traces
    of salt water to
    photo-negative,c the granularity: a degrading analogue

    to the digital, a “surrender

    to the

    of the ocean.d
    the grueling wait for the fly

    to embody its name,b

    jittering lines -
    pen and
    lapice, a response to
    “visceral emotion,” “prolonged searching,”5 gathering changes,

    brief interactions of
    “light and surface”
    via photographic lens,4 time’s passage - a remnant image of
    iceland, a “residual landscape through light.” 3

    we’ll process endo via code;2
    “examine the nature of textuality” through matzah.g

    shreds of bread to converge a fault,e edible concrete registers fear.f a domestic scene, absent of figural presencez the wide span of “blank” canvas in tossed flowersw

    an “exploration of heavenly bodies and earthly ones,”x

    a meditative glance, held up by a grid.y

    “beware of
    that which is breathtakingly beautiful, for at any moment the telephone may ring or the airplane
    come down in a vacant lot. A piece of string
    or a sunset, possessing neither,
    each acts and the continuity happens...” *

    “Just as before, the cicada kept on singing their song, dry and hoarse. There was not a breath of wind. Just as before, a fly kept buzzing around the priest’s face. In the world outside there was no change.” ^


    a Thomas Martin 6 Morgan O’Hara c Shimpei Takeda d Karine Laval
    b Kristen Studioso
    5 Ned Shalanski
    4 David Brown
    3 Elizabeth Tubergen 
    2 Joshua Clayton
    g Karen L. Schiff
    e Dean Ebben
    f Joshua Cave
    z J Carpenter
    w Jenna Bauer
    x Lia Chavez
    y Jung ah Kim

    The work will be exhibited at NYCAMS (New York Center for Art & Media Studies) at 44 W 28 Street, Floor 7, New York, NY, from June 13 to 26, 2012. Gallery hours are from 10am to 4pm, Monday through Friday, or by appointment. An opening reception will take place on Thursday, June 14, 2012, from 6-8pm.

    This exhibition is in conjunction with an evening of performances, which includes five newly created music-based compositions, at the Rubin Museum of Art, on June 18, 2012, at 7:30pm

    Contact: Janna Dyk, jydk@chelseamusicfestival.org

    * John Cage, “Lecture on Nothing,” in Silence. ^ Shusako Endo, Silence, page 119.

    June 18, 2012
    The Rubin Museum of Art
    New York, NY

    On Silence, a collaborative event featuring musical and visual components, is a dialogue on the concept of silence in visual art and music, a nod to the 2012 centennial of composer and theorist John Cage. The evening’s series of performances, curated by Janna Dyk, will feature music by CMF 2012 Composer-in-Residence Somei Satoh as well as original compositions by Joshua ClaytonBrent Everrett DickinsonJames Hall and Aaron Kruziki, which derive from a thoughtful engagement with the topic, instigated by the reading of Silence, written by premier Japanese novelist Shusako Endo, and in consideration of excerpts from John Cage’s book of lectures by the same title. The two texts create a diverse and uncanny conversation, one whose language here spans genres from classical to progressive jazz, ambient, experimental, and the avant garde, on the nature of silence, its effects, and implications.

    The event at the Rubin Museum of Art is in conjunction with an art exhibition of over 20 New York artists' works, which will be exhibited at the NYCAMS Gallery in Chelsea, June 14-25, 2012, with an opening reception on Thursday, June 14, from 6-8pm. The reception is free and open to the public. Gallery hours are 10am-4pm, or by appointment.

  3. Press:

    "Music, Meeting at the Crossroads," New York Times, Anthony Tomasini, June 18, 2012

    "Select Upcoming," TIME OUT NY, June 2012

    "Summer Festivals," New York Times, May 17, 2012