https://octagon.earth Octagon Wed, 02 Mar 2022 03:16:12 +0000 https://octagon.earth en https://octagon.earth/Rotating-Logo Thu, 22 Apr 2021 02:54:50 +0000 Octagon https://octagon.earth/Rotating-Logo <img width="161" height="161" width_o="161" height_o="161" data-src="https://freight.cargo.site/t/original/i/fb47d7dd2f772b813315af3cf23893f9f31890076ad8f84950ddee3b5d2888ee/blue.svg" data-mid="106044305" border="0" src="https://freight.cargo.site/w/161/i/fb47d7dd2f772b813315af3cf23893f9f31890076ad8f84950ddee3b5d2888ee/blue.svg" /> https://octagon.earth/Future Thu, 22 Apr 2021 03:28:02 +0000 Octagon https://octagon.earth/Future https://octagon.earth/Current Wed, 02 Mar 2022 03:16:12 +0000 Octagon https://octagon.earth/Current Alexa West Pumpjack March 11 – 13, 2022 390 Broadway, Second FloorNew York, NY 10013 <img width="1085" height="1463" width_o="1085" height_o="1463" data-src="https://freight.cargo.site/t/original/i/1938fd313a26f2291be7810d97f67038c6755828a3c21aae812a927f23f2aa81/monday-7-copy.png" data-mid="135054983" border="0" src="https://freight.cargo.site/w/1000/i/1938fd313a26f2291be7810d97f67038c6755828a3c21aae812a927f23f2aa81/monday-7-copy.png" /> Photo: Miles Pflanz.a choreography featuring Savannah Lyons-Anthony, Sharleen Chidiac,Cayleen Del Rosario, Jade Manns, and Owen Prum Rolling across the horizon like tumbleweeds, the oil barrels are running dry again. Seen farther down the road, a lone tire, sized for a compact electric car, is leaking air to the point that it has become lopsided and can’t stand up on its own anymore. The radio is on full blast. After flipping through a couple of oldies and pop stations, the weather is finally announced, today is sunny and 78 degrees, and the S&amp;P 500 is down 135 points. Seen in the rearview mirror a field of pumpjacks are silently nodding in compliance, while gleaming office parks loom into view ahead. At long last, you have reached the Energy Corridor. <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c0d74717c14a11d4c590b490fe820e2c0a8d866cd48bf687f8826512f87a809a/3K6A9012.jpg" data-mid="139039028" border="0" src="https://freight.cargo.site/w/1000/i/c0d74717c14a11d4c590b490fe820e2c0a8d866cd48bf687f8826512f87a809a/3K6A9012.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f61ce32599b5dac97f833865ca95a0659943528acd0a2404ea96c866b9e5a1a1/3K6A8764.jpg" data-mid="139038902" border="0" src="https://freight.cargo.site/w/1000/i/f61ce32599b5dac97f833865ca95a0659943528acd0a2404ea96c866b9e5a1a1/3K6A8764.jpg" /> Developed over the last year, Pumpjack is a choreography by Alexa West that examines shifting psychological states within recent decades of “American Industry”, with The Energy Corridor in Houston, Texas as its genesis. The Energy Corridor is a business district and an economic nerve ending. Located on the outskirts of the city the Corridor is a hub for energy company headquarters, including businesses specializing in the extraction and refinement of crude-oil. Nationwide, the spot price of crude-oil on the New York Mercantile Exchange is an unofficial indicator of American economic performance. Stored in barrels and colloquially referenced as such, the daily spot price of oil per barrel is commonly mentioned on news channels. Much like weather reporting, oil per barrel pricing is a measurement that contextualizes the incremental changes in our daily existence as a nation within a globalized world. At the time of writing this document, oil was trading higher than usual at $121.50 / barrel, influenced in part by ongoing American pandemic related inflation and the recent Russian invasion of Ukraine. Situated in a theaterized-industrial landscape, Pumpjack draws upon quasi-fictionalized materials from the artifacts and lore surrounding “Texas Oil”. The movements presented in Pumpjack relate to ideas of commodity and exchange, and are sourced from existing cultural phenomena, created from scratch, or deconstructed beyond recognition. Indicative of this ethos, the iconic Scarecrow’s dance from The Wizard of Oz is gutted of its original context: shown without its original music, lyrics, or costume. These stylistic omissions leave bare the emotional archetype of the character: a stereotypical reputation of the American farmer and their perceived lack of political intelligence, who sings “if I only had a brain.” Movements that are now considered obsolete or out of style are featured, including a system of hand signals used on financial trading floors to communicate buy and sell stock prices, and fast-paced, high-intensity techno gabber dancing from 1990’s Rotterdam. Borrowing from Looney Tunes-esque slapstick comedy, interpersonal dynamics between characters are loosely built and subsequently dismantled throughout the piece. Intentionally disparate, these referential gestures create a kaleidoscopic display of “Industry” as a concept, and foreground the ensemble of characters that toil, profit, suffer, and are alienated in its wake. Pumpjack’s prerogative is to not distill an easily digestible essay of movements, but rather to entangle them into a larger, messier vocabulary that is absurdist, entropic, playful, and poignant. – Moira Sims <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/a097096187772f8ab06bf46158a80137d39e9ad501bc61fd5782bca9667dd38c/3K6A8577.jpg" data-mid="139038872" border="0" src="https://freight.cargo.site/w/1000/i/a097096187772f8ab06bf46158a80137d39e9ad501bc61fd5782bca9667dd38c/3K6A8577.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fe932eed1e5d869a450537c6342afb865f8e9d6a769c8391497d274372a2b888/3K6A8601.jpg" data-mid="139038889" border="0" src="https://freight.cargo.site/w/1000/i/fe932eed1e5d869a450537c6342afb865f8e9d6a769c8391497d274372a2b888/3K6A8601.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/7b6b996bbb018114c23ea64f87785aa1c67656d33da326b1885b94043708af0c/3K6A8614.jpg" data-mid="139038893" border="0" src="https://freight.cargo.site/w/1000/i/7b6b996bbb018114c23ea64f87785aa1c67656d33da326b1885b94043708af0c/3K6A8614.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c86091f6cb8bff0052c6f4f25c451893817d1a0e5b7263fc0838548a495a51a2/3K6A8689.jpg" data-mid="139038895" border="0" src="https://freight.cargo.site/w/1000/i/c86091f6cb8bff0052c6f4f25c451893817d1a0e5b7263fc0838548a495a51a2/3K6A8689.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/7159385efc8eccdafab7ffd98375c2b03fc6a6c8bba26c03d8c51a2344406204/3K6A8781.jpg" data-mid="139038940" border="0" src="https://freight.cargo.site/w/1000/i/7159385efc8eccdafab7ffd98375c2b03fc6a6c8bba26c03d8c51a2344406204/3K6A8781.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4f16aa2e27d959167e4e5b8b1eed82b03f57fcaa562611a609af403ffc0cd338/3K6A8830.jpg" data-mid="139038949" border="0" src="https://freight.cargo.site/w/1000/i/4f16aa2e27d959167e4e5b8b1eed82b03f57fcaa562611a609af403ffc0cd338/3K6A8830.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/af1c759b14a743de7e3d9d27fbdf58bcf4879a9348ae659da6678d8becc81d75/3K6A8864.jpg" data-mid="139038969" border="0" src="https://freight.cargo.site/w/1000/i/af1c759b14a743de7e3d9d27fbdf58bcf4879a9348ae659da6678d8becc81d75/3K6A8864.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4163a95f896f08eb902aaa6c7bccfa676276abdc206029ff5b5b47a5eb4e50df/3K6A8889.jpg" data-mid="139038991" border="0" src="https://freight.cargo.site/w/1000/i/4163a95f896f08eb902aaa6c7bccfa676276abdc206029ff5b5b47a5eb4e50df/3K6A8889.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ab266b60c235ba0035a9c2e1fdc8a190e8331bb689648c95fc58b9cfa6e9cce7/3K6A8913.jpg" data-mid="139038995" border="0" src="https://freight.cargo.site/w/1000/i/ab266b60c235ba0035a9c2e1fdc8a190e8331bb689648c95fc58b9cfa6e9cce7/3K6A8913.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/50ebc27e76a65fda5989aeba1583ce2dbbffab258499ddad76ee48994de50a40/3K6A9080.jpg" data-mid="139039042" border="0" src="https://freight.cargo.site/w/1000/i/50ebc27e76a65fda5989aeba1583ce2dbbffab258499ddad76ee48994de50a40/3K6A9080.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/2f5c3e1b062dcaebd4d243e8c30f6612e988542976f143ec926b4314da030a07/3K6A9038.jpg" data-mid="139039039" border="0" src="https://freight.cargo.site/w/1000/i/2f5c3e1b062dcaebd4d243e8c30f6612e988542976f143ec926b4314da030a07/3K6A9038.jpg" /> Photos: Andrew Jarman Video by Lili Dekker. Video by Jacob Lazovick.&nbsp; Special thanks to Kathleen Engman, who was an integral part of forming the choreography and was an original cast member. Due to unforeseen circumstances Kathleen was not able to perform, but her energy and contributions are deeply resonant within the piece. Thank you to Cooper Campbell, Lili Dekker, Eden Deering, Olivia Drusin, Andrew Jarman, Sarah Kinlaw, Jacob Lazovick, Erin Leland, Richard McDonough, Harrison Milne, Wendy Olsoff, Miles Phlanz, Penny Pilkington, Arthur Purvis, Mira Putnam, Simone Subal, Viktor Timofeev, and Lulu White. This work was developed in part through New Dance Alliance’s LiftOff Residency, and with the support of the KinoSaito Art Center. Alexa West (b. 1991 Houston, Texas) is an artist and choreographer based in New York City. Her research examines the materials and spaces that impact human motion to illustrate the hilarious and absurd conditions that frame our collective embodiment. She works collaboratively with performers. West studied in the professional training program at the Martha Graham School before receiving her BFA from the Cooper Union. Her work has been presented in spaces around New York, New York and Houston, Texas and she has been an artist in residence with Chez Bushwick and Otion Front in Brooklyn, NY. West is currently a MFA candidate at Bard College, Milton Avery School of the Arts. https://octagon.earth/Past Thu, 22 Apr 2021 03:14:21 +0000 Octagon https://octagon.earth/Past Instruments: Cooper Campbell September 19 – October 30, 2021 Transfer Station: Sophie Friedman-Pappas June 12th – August 29, 2021 Pavilion: Alexa WestSeptember 19 – 21, 2019Respite Plaza: Rudy Natanzon and Lulu WhiteNovember 30, 2018 – January 18, 2019 https://octagon.earth/Press Tue, 28 Sep 2021 21:41:52 +0000 Octagon https://octagon.earth/Press Campbell, Victoria. “The Surplus in Being: On Sophie Friedman-Pappas’ post-consumer practice &amp; the xenocology of her Transfer Station solo show at Alyssa Davis,” AQNB. September 8, 2021. Natanzon, Rudy. “Sophie Friedman-Pappas: Transfer Station,” The Brooklyn Rail. August 17, 2021. “'Transfer Station' by Sophie Friedman-Pappas at Alyssa Davis Gallery, New York,” Tzvetnik. July, 2020. ”Sophie Friedman-Pappas at Alyssa Davis Gallery,” Art Viewer. July 18, 2020. “Transfer Station, Sophie Friedman-Pappas, Organised by Octagon (Moira Sims), At Alyssa Davis Gallery, New York, US,” O Fluxo, July 2020.“Sophie Friedman-Pappas: Transfer Station,” Contemporary Art Library. July 2020.&nbsp; https://octagon.earth/Publications Thu, 30 Sep 2021 23:15:15 +0000 Octagon https://octagon.earth/Publications Campbell, Cooper, Instruments, published by Octagon, 2021.&nbsp; https://octagon.earth/Cooper-Campbell-Instruments Mon, 13 Sep 2021 03:29:30 +0000 Octagon https://octagon.earth/Cooper-Campbell-Instruments Cooper Campbell Instruments September 19 – October 30, 2021 Opens Sunday, September 19th: 4-8PM hosted by&nbsp; eyes never sleepby appointment only to make an appointment, please schedule through this: link. <img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/fb19d89b8579fbb282b2ea4cb20c9a3535b93c1c76d790a2d1d27ec415b90ea3/Showflyer_insta.jpg" data-mid="118756141" border="0" src="https://freight.cargo.site/w/1000/i/fb19d89b8579fbb282b2ea4cb20c9a3535b93c1c76d790a2d1d27ec415b90ea3/Showflyer_insta.jpg" /> Image: Freuler, D. View of the penultimate plaster of St. John the Baptist Preaching (1878-1880) by Auguste Rodin. 1878. Albumen print with graphite. Musée Rodin, Paris/Meudon. In Rodin’s Studio: A Photographic Record of Sculpture in the Making. Elsen, Albert Edward. Oxford: Phaidon Press; Ithaca, NY: Cornell University Press; in association with Musée Rodin, 1980. 41, Print. --- Presented as both an exhibition of artworks and as a book that compiles original writing and archival images, Instruments represents Cooper Campbell’s research into the practice of valuation. In tandem with the release of the book, the exhibition takes place at eyes never sleep, an apartment exhibition space on the Upper East Side of Manhattan founded by Colin Ross, a director at a prominent gallery on Madison Avenue. The decision to situate Instruments in an art dealer’s home was an intentional one; Campbell has embedded these works within Ross’s domestic space to invoke an appraisal of the art industry’s participants themselves. The title Instruments is derived from the term’s financial definition: monetary contracts between parties that can be created, traded, modified, and settled. Campbell’s interests in the monetization of art have urged him to examine the art market’s role in the accumulation of wealth. An analogy to alchemy is present in Campbell’s research—what is the definition of value, and how does one issue, institutionalize, or otherwise invent value from raw material alone? Within the contemporary art world, creating a limited edition of a replicable art object is a widely accepted practice. The sales structure of nineteenth-century French Modernist Auguste Rodin’s artworks set a legal, financial, and cultural model for dispersing the concept of an original work of art, a precedent that remains a fundamental component to today’s art industry. After Rodin’s death in 1917, the French government inherited his intellectual property rights, formed Musée Rodin as a governing body of his estate, and began to posthumously produce Rodin’s sculptures in editions of twelve. By implementing traditional casting and scaling methods to replicate the same object in multiples, it became possible to profit numerous times from the sale of what was, in essence, the same artwork. Mid-century financiers were particularly passionate about collecting Rodin’s works, and Campbell’s essay illuminates unmistakable parallels between Rodin’s market structure and the world of securities trading. In tracing this contour, Campbell finds both markets to be realms impacted, commingled, and determined behind the scenes by the influence of singular individuals and private third parties. To illustrate the phenomenon of valuation, Campbell has rendered disparate financial devices as his own artworks. Collectively these instruments question the systems of value creation, and the blurriness surrounding originality. Multiple systems are considered: spot prices (the constantly shifting values of copper, nickel, and tin on the commodities market); numismatic value (a coin collector’s valuations based on a coin’s rarity and historical importance); contractual value (a consignment, an IOU, a promise); novel value (an original versus an edition versus a copy); and retail value (the number on a price tag), amongst others. His interrogations of these orders of value take the form of material interventions, such as a nineteenth-century ormolu vase displaying a bouquet with gentian (a French flower used as a barometer for bitterness); and a surmoulage (an unauthorized cast of an original authorized casting) of Rodin’s Definitive Study for the Head of Balzac, 1897 with the casting sprues still attached to the work. Both in concert and in conflict, the objects within Instruments gesture to cracks and circularities within the logic of value. <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/12d218c0584ddb932d45f835d2284df2af72baf51acbc4fcfe375b34fb6d2420/CC02_edit.jpg" data-mid="120150248" border="0" src="https://freight.cargo.site/w/1000/i/12d218c0584ddb932d45f835d2284df2af72baf51acbc4fcfe375b34fb6d2420/CC02_edit.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/96004d329d62f187fcb16fd0350370161f848557022bff3b3fe57da2ca5169e2/CC20.jpg" data-mid="120150327" border="0" src="https://freight.cargo.site/w/1000/i/96004d329d62f187fcb16fd0350370161f848557022bff3b3fe57da2ca5169e2/CC20.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c8f236c678dadf65913d5515ab87be3285a54d46b84ce77236ae5c9fc65ca804/CC04.jpg" data-mid="120150287" border="0" src="https://freight.cargo.site/w/1000/i/c8f236c678dadf65913d5515ab87be3285a54d46b84ce77236ae5c9fc65ca804/CC04.jpg" /> <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/6c7cadf382302921e7d8b719d2fc4da30abb991b19489a5851127eb0aeab5a8f/CC18.jpg" data-mid="120150301" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6c7cadf382302921e7d8b719d2fc4da30abb991b19489a5851127eb0aeab5a8f/CC18.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;<img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/159f7b1e928529ed6f3015486a6651025ea87eab70d4fc8f035bf003239d99df/CC17.jpg" data-mid="120150300" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/159f7b1e928529ed6f3015486a6651025ea87eab70d4fc8f035bf003239d99df/CC17.jpg" /> Pointing Machine (Macchinetta di Punta) Cooper Campbell With assistance from Richard Zeemer After John Bacon the Elder RA, Antonio Canova, Nicholas-Marie Gatteaux Late 18th Century / 2018-2020 Brass, steel Dimensions variable, approx. 24 x18 x 12 inches By the late eighteenth century the classic sculptor of high fame, whose mind must necessarily be engaged upon his designs in clay or wax, employed assistants to give permanence to his oeuvre. Sculptors of this type were so persuaded of their genius that they expressed some condescension towards those craftsmen upon whom they were now dependent. [1] A Pointing Machine is a device used to fabricate one-to-one copies of existent sculptures in subtractive materials (stone, wood, plaster, etc). The device describes the three-dimensional form of a work by measuring points along its surface in relation to each other. The ability to precisely measure and transfer three-dimensional forms allowed the sculptor to contract the labor of production to unskilled or less skilled craftsmen. Three primary needles allow a carver to establish a fixed position on the work they wish to copy and the material they wish to copy the work onto. From this fixed position the carver may create exact measurements of the form using a fourth needle seated in a spring loaded saddle at the end of an articulated arm. The sculptor thereby transfers the spatial data of a pre-existing form onto a new block of material to a high degree of precision. Evidence of the employment of primitive versions of the pointing machine have been observed in Greek and Roman sculptural practice. However, the earliest known example of a modern Pointing Machine was produced by the French Medalist Nicholas-Marie Gatteaux (1751-1832) sometime in the late 1700’s though the English Sculpture and Porcelain manufacturer John Bacon (1740-1799) produced a similar device in the same era that he later gifted to the Italian artist Antonio Canova (1757-1822) who perfected the device and popularized its usage. [1]&nbsp;Ayres, James. “The Pointing Machine.” Art, Artisans and Apprentices: Apprentice Painters &amp; Sculptors in the Early Modern British Tradition, Illustrated, Oxbow Books, 2014, p. 335. <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2023d0f1716a5afafeb01f966768d71f41c059579d3603f6e1cd3ebdce8dd193/CC16_edit.jpg" data-mid="120150251" border="0" src="https://freight.cargo.site/w/1000/i/2023d0f1716a5afafeb01f966768d71f41c059579d3603f6e1cd3ebdce8dd193/CC16_edit.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c3b39263dcb999735c49090003651a742b1c3e9e0e2622cb6d8aef20c37693e0/CC28.jpg" data-mid="120150335" border="0" src="https://freight.cargo.site/w/1000/i/c3b39263dcb999735c49090003651a742b1c3e9e0e2622cb6d8aef20c37693e0/CC28.jpg" /> American Coinage Cooper Campbell with Thomas Lunt 1860-1978/2020 Cardboard, copper, gold, silver, steel Dimensions variable Long before the advent of coinage, ancient civilizations utilized gold and silver in the form of jewelry, art, and ingots. These metals were measured and valued by weight. Sumerian clay tablets reveal that as far back as 2400 B.C.E., official standards existed for the weighing of silver for use as money. The same was true throughout the ancient world. One of the earliest passages in the Old Testament reports that Abraham “weighed to Ephron... four hundred shekels of silver, current money” to buy a burial plot for his wife, Sarah. [1] Money in the form of coins first made its appearance in Lydia [2] around 640 B.C.E. The first coins were made of a naturally occurring alloy of gold and silver called electrum. A government symbol on each coin attested that it weighed the proper amount. Merchants found these ingot coins more convenient than bringing out the scales to weigh silver in every transaction. About a century later, King Croesus, the most famous Lydian king, decreed that all official coins had to be minted in either refined gold or silver. This manner of coinage persisted for over 2,500 years because of the durability, scarcity, uniformity, and divisibility of these metals. They were a measure of value, an easy way to transfer and preserve wealth, and readily accepted for services and commodities worldwide. [3] There are three primary forms of money. Commodity money has inherent value such as salt, cocoa beans, and tobacco or the exchange of precious metals like gold, silver, and copper. Representative currency functions as a certificate, its value being generated by its function as a guarantee of a predetermined amount of a select commodity. The third form is called fiat currency, money whose value is expressed through social agreement. The coins in American Coinage are all examples of partially representative money, these coins (save for a limited pressing of steel pennies issued during a copper scarcity caused by WWII) are all partial commodity tokens. The face value or intended value of the coins is divorced from their material commodity value via the decoupling of US’s dollar from the gold standard. Additionally the influence of perceived scarcity has distorted the value of these coins, creating a third form of numismatic value or collectability. There is no static value for these coins due to the fluctuations of the value of the dollar, the precious metals markets, and the numismatic markets. All continually reappraise the value of these coins. [1]&nbsp;Genesis 23:16. The shekel was a hebrew unit of weight. [2]&nbsp;An ancient Kingdom Located in what is now Turkey. [3]&nbsp;Foster, Ralph. Fiat Paper Money: The History and Evolution of our Currency . Foster Publishing. Kindle Edition. <img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/8aa4b7e497350ab65198a7bfaa8beb72d2f19a84d5baa8ab26f477a5c03ee2bc/CC22.jpg" data-mid="120150329" border="0" src="https://freight.cargo.site/w/1000/i/8aa4b7e497350ab65198a7bfaa8beb72d2f19a84d5baa8ab26f477a5c03ee2bc/CC22.jpg" />&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/8b34ccf12390eb1dfa97c2bd7119ee73f88efe925beb592b0d187d21414ac7c8/CC26.jpg" data-mid="120150333" border="0" src="https://freight.cargo.site/w/1000/i/8b34ccf12390eb1dfa97c2bd7119ee73f88efe925beb592b0d187d21414ac7c8/CC26.jpg" /> Surmoulage Cooper Campbell, with assistance from Firebird Bronze Foundry, Portland OR. After Auguste Rodin with Rudier Foundry, Sculptures LTD. 1897, 1965-1975 (approx), 2020 Bronze 12 x 6 x 8 inches Editon of 12 + 1 AP This work is a surmoulage [1] of Rodin’s Definitive Study for the Head of Balzac, (1897). Surmoulage is reproduced from a resin edition produced by Sculptures LTD a company that specialized in low cost resin editions of minor works by canonical Western artists. This casting is not a true edition. Despite the casting having Rodin’s signature as well as the foundry mark from the artist’s lifetime foundry [2], leaving the sprue system attached and the bronze un-patinated disallows the intended authorship of Rodin while still retaining the form of the intended work. [3] The original work Definitive Study for the Head of Balzac, (1897) by Auguste Rodin is a study for the Monument to Balzac (1891–1897), a public commission from Société des Gens de Lettres de France. Following the initial display in 1898 at the Salon at Champ de Mars, the work was rejected by the Société and the plaster was moved to Rodin’s studio at Meudon where it was displayed for the next forty years before being editioned in bronze in 1939, twenty- two years after the artist’s death. Often referred to as the first modern sculpture, monumental bronze castings can be found in the collections of The Norton Simon Museum of Art (Pasadena, California, U.S.), the Hirshhorn Museum Sculpture Garden (Washington D.C, U.S.), the Museum of Modern Art in (New York City, New York, U.S.), the Los Angeles County Museum of Art, (Los Angeles, California, U.S.), the Middelheim Open Air Sculpture Museum (Antwerp, Belgium), the Musée Rodin (Meudon, France), the Van Abbemuseum (Eindhoven, Netherlands), Hakone Open-Air Museum (Ashigarashimo District, Kanagawa Prefecture, Japan), the National Gallery of Victoria in (Melbourne, Australia), and in public installation at the intersection between Boulevard Raspail and Boulevard du Montparnasse, (Paris, France) as well as in the open spaces around the former Ateneo de Caracas (Caracas, Venezuela). Evidence suggests two additional castings; one somewhere in the U.S. and another in Europe. Bronze editions of Definitive Study for the Head of Balzac (1897) were initially cast by Georges Rudier nearly fifty years after Rodin’s death, from the plaster studies made in preparation for the monument and left behind in the artist’s studio. The study can be found at the Musée Rodin (Meudon, France) with editions found in the collections of Cleveland Museum of Art (Cleveland, Ohio, U.S.), Baltimore Museum of Art (Boston, Massachusetts, U.S.), Chrysler Museum of Art (Norfolk, Virgina, U.S.), Legion of Honor (San Francisco, California, U.S.), Mount Holyoke College Art Museum, (South Hadley, Massachusetts, U.S.), The Hirschorn, (Washington, D.C., U.S.), The Kreeger Museum (Washington, D.C., U.S., two copies in the National Gallery of Art (Washington, D.C., U.S.), Maryhill Museum of Art (Goldendale, Oregon, U.S.), the Brooklyn Museum (New York City, New York, U.S.), McMullen Museum of Art at Boston College (Boston, Massachusetts, U.S.), The Museum of Modern Art, (New York City, New York, U.S.) as well as a plaster at the Nasher Sculpture Center (Dallas, Texas, U.S.). [1] An unauthorized cast of an original authorized casting. [2]&nbsp;Alexis Rudier. [3]&nbsp;This is to protect Campbell from encroachments of Rodin’s authorship. <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/91172ffbc97adb95d6dec9e809d2778b72e226524214d600e64375149d80ebf2/CC03.jpg" data-mid="120150271" border="0" src="https://freight.cargo.site/w/1000/i/91172ffbc97adb95d6dec9e809d2778b72e226524214d600e64375149d80ebf2/CC03.jpg" /> Dross Cooper Campbell 2020 Bronze, unknown heavy metals 9 x 9 x 6 inches Dross is the term for material impurities of a given alloy or metal that has formed on the surface of liquid metal during the casting process. They are primarily oxides that are produced by the extreme heat necessary for the casting process—as well as tertiary contaminants that may exist in the casting stock. Dross is absolute waste. Due to its unreliable and unknown make up it is unusable in any continued casting process and unrecyclable as a byproduct. Dross is a concretion of this cast off and waste materials bound into a consolidated mass by a matrix of bronze. <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8e7d42046dcbcca692c5997baad611375835d4f092c2c2ca4831fe51ab7ec908/CC07.jpg" data-mid="120150291" border="0" src="https://freight.cargo.site/w/1000/i/8e7d42046dcbcca692c5997baad611375835d4f092c2c2ca4831fe51ab7ec908/CC07.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/42b27c3703adb47944e8647d5c9066cb99de3fe294fac0aa1dd039c4ab88fe76/CC06.jpg" data-mid="120150290" border="0" src="https://freight.cargo.site/w/1000/i/42b27c3703adb47944e8647d5c9066cb99de3fe294fac0aa1dd039c4ab88fe76/CC06.jpg" /> Consignment, Ormolu and Blue Glass Centerpiece with Floral Arrangement Louis Constant Sévin for the Barbedienne Foundry,Cooper Campbell, Consigned by Colin Ross, Flowers from Saffron; Arranged by Grayson Scott 1880, 2021Cobalt glass, ormolu bronze (gold), flowers An ormolu bronze vase [1], decorated with medallions of putti and trophies of musical instruments lined with cobalt blue glass, designed by Louis Constant Sévin [2] for the Barbedienne Foundry [3], cast 1880, Paris. Consigned to gallery eyes never sleep, LLC from the New York City antiques dealer M&amp;M Gallery for the exhibition. The vase features a bouquet of primarily French flora: White Gentian, Chamomile, Heather, Paper Reed and various American Grasses arranged by florist Grayson Scott. The bouquet will remain in the vase for the duration of the consignment. [1]&nbsp; A type of gilding, hi-karat gold is dissolved in mercury and applied to a bronze substrate, the piece is then fired in a kiln driving off the mercury leaving a gold coating. Ormolu gilders rarely lived past thirty. [2]&nbsp;Louis-Constant Sévin (1821-1888). A well known french ornamentalist, works can be found in the Metropolitan Museum of Art, Carnegie Museum, Musée d’Orsay, amongst others. Officer of the French Legion of Honor. [3]&nbsp;Ferdinand Barbedienne (1810-1892). A french Founder and industrialist, credited with creating one of the largest industrial art production monopolies in modern history. <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/93eef3587331889935810cc984b5c230068d226f83cee5001c7d478591b65c35/CC12.jpg" data-mid="120150296" border="0" src="https://freight.cargo.site/w/1000/i/93eef3587331889935810cc984b5c230068d226f83cee5001c7d478591b65c35/CC12.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d636b4702b066e62601e21a26ff23b2bb01388d64da6a6fc2f5c5f6b369f83bc/CC13.jpg" data-mid="120150297" border="0" src="https://freight.cargo.site/w/1000/i/d636b4702b066e62601e21a26ff23b2bb01388d64da6a6fc2f5c5f6b369f83bc/CC13.jpg" />Billet (Copper) Cooper Campbell with assistance from Michale Carbone and Ha-Lan Van 2020 Copper 3 x 3 x 34 inches Copper can first observed in the material record of humanity roughly 8,700 BCE the first known example of human manipulation of this metal (or any metal) being a small pendant found in what is now Northern Iraq [1] that appears to be hammered out of “native copper” or naturally occurring deposits of relatively pure copper metal. Additional examples of decorative objects wrought from native copper have been found in Cyprus, Northern Iran [2] and Michigan’s Upper Peninsula [3] both dating back to roughly 7000 BCE. Over the course of the intervening millenia Copper has been one of the most instrumental materials in human technological advancement; first used as decorative objects (Like the Iraqi pendant) that dually functioned as currency, copper was quickly utilized in tooling before being retasked during the industrial revolution as electrical wiring–its ductility and conductivity allowing for the electrification of modern society. Cast from both industrial and domestic scrap material (electrical wiring, plumbing line and fittings, electric motor windings, computer parts, decorative figurines, american pennies, etc) purchased from Steve Cook at spot price per pound the material present in Billet (Copper) was cleaned and partially refined before being cast and machined down a billet weighing exactly one-hundred pounds. [1]&nbsp;Radetzki, Marian. “Seven Thousand Years in the Service of Humanity—the History of Copper, the Red Met- al.” Resources Policy, vol. 34, no. 4, 2009, pp. 176–84. Crossref, doi:10.1016/j.resourpol.2009.03.003. [2] Ibid. [3] Ibid. Special thanks to:&nbsp;Tom and Jan Campbell, Rory Campbell, Michael Carbone, Tommy Celt, Jen Conjerti, Seve Cook, Amelia Farley, Magdalena Galen, Joann Lunt, Ivan McClean, Ken Reed, Lucy Raven, Colin Ross, Ha-Lan Van, Margaux Wheelock-Shew, Lucas Zeeburg, and Richard Zeemer. Cooper Campbell (b.1994, Portland, OR) lives and works in Queens, NY. Campbell has exhibited at eyes never sleep, New York, NY, organized by Octagon (2021); The Cooper Union, New York, NY (2017, 2014); and Trust Gallery, Richmond, VA (2014). In 2019, Campbell completed the Interstate Projects Studio Residency, New York, NY. Campbell received his BFA in 2017 from the Cooper Union School of Art, New York, NY.eyes never sleep is a research-based exhibition space centered around curatorial collaboration and editorial initiatives. https://octagon.earth/Instruments-Book Thu, 30 Sep 2021 23:21:39 +0000 Octagon https://octagon.earth/Instruments-Book <img width="1292" height="1293" width_o="1292" height_o="1293" data-src="https://freight.cargo.site/t/original/i/071bd94fac1fdd9bfda8e07ceffd11958b68acd8861d23f57cae94142413d380/BOOK_ALT_SQUARE.jpeg" data-mid="120376706" border="0" src="https://freight.cargo.site/w/1000/i/071bd94fac1fdd9bfda8e07ceffd11958b68acd8861d23f57cae94142413d380/BOOK_ALT_SQUARE.jpeg" /> Cooper Campbell Instruments published by Octagon September, 2021 To purchase a copy of Instruments, please click here or write to info@octagon.earth https://octagon.earth/Sophie-Friedman-Pappas-Transfer-Station Thu, 22 Apr 2021 03:21:19 +0000 Octagon https://octagon.earth/Sophie-Friedman-Pappas-Transfer-Station Sophie Friedman Pappas Transfer Station June 12 – August 15, 2021 Opens Saturday, June 12: 4-8PMhosted by Alyssa Davis Gallery 2 Cornelia St, № 1102, New York, NY, 10014 <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5a7b3f95913a015f879063553de3ad516cab3bfa2c8c305f05389379293881d1/1.jpg" data-mid="112605545" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5a7b3f95913a015f879063553de3ad516cab3bfa2c8c305f05389379293881d1/1.jpg" /> You find yourself standing atop a vast and unnaturally grassy mound of earth. The Statue of Liberty and Manhattan’s Financial District loom in the distance. You sit down and rest your hand on the ground, only to discover that the soil beneath the fresh sod has stained your skin a rusty orange. Your location is Freshkills Park, a 2,200-acre veneer constructed over the impermeable cap (impermeable, they say) of the Fresh Kills Landfill on the west side of Staten Island. You talk to a park employee about the strange orange soil, you haven’t seen this kind of dirt in New York City before. They explain that the soil was a special order, but that someone accidentally requested the iron-rich blend. Soil and sod were shaped into four gargantuan mounds to cover up 150 million tons of household waste and toxic debris excavated from the Twin Towers’ Ground Zero, a landfill once described as “our generation’s A-Bomb” (1). Across the river channel, artificially planted trees encircle One Chase Manhattan Plaza; the Financial District comprises a series of gleaming plazas concealing potter’s fields underneath. You take the ferry to Manhattan in time for a tour of the Federal Reserve bank downtown. You think about Jerome Powell and his influence over fluctuating post-pandemic federal interest rates. Distracted, you almost miss the guide announcing that 20 feet beyond the subterranean vaults is the 2 Train barreling past. Commuters pass oblivious to their proximity to millions of dollars of gold bullion. You watch as foreign governments' debts to one another are made tangible, as the Federal Reserve staff carts gold bars from vault to vault. You begin to question what else may lie buried within the bedrock of your perceived reality. You think about liquid trash runoff possibly leaking through the soil of Freshkills Park into the East River and beyond. You think about the leakage of Industrial Capitalism, and how it has perpetuated the accumulating layers of filth and economic strife running rampant throughout the city. What else rumbles and oozes below? Transfer stations are waste management sites intended to be temporary, which only became part of the municipal trash lifecycle after the Fresh Kills Landfill closed. You begin to notice the stations mutating and multiplying around you. In New York City, they present as innocuous and privately-owned warehouses sealed with roll gates. Household trash sometimes goes to transfer stations before heading to a more permanent landfill, an intentionally obscured process that exacerbates systemic pollution in low-income neighborhoods. To similar hostile effect, an industrial coating product called NeverWet™ has become popular in urban areas. It makes surfaces hydrophobic, repelling liquids aggressively, with the intent of warding off public urination. Exteriors of glimmering new housing developments can be coated with NeverWet™ so that if a person urinates onto the side of a building, the wall pisses back onto them. Pollution and its symptoms continue to be weaponized against the city’s unhoused and working class, and the trash wars rage on. The city itself is becoming increasingly antagonistic to its inhabitants. You begin to feel a pull towards this ceaseless problem of waste, yet you find yourself at a loss. You start collecting interesting scraps of refuse in your free time. A facetious solution forms in your mind: how could we put our collective shit to work? Once repurposed, perhaps waste could be the answer to a more just society, or in the very least, it could hold up a mirror to the absurdities of capitalism. You once read about human urine being utilized to tan leather in the Middle Ages. What if our city sewers could be repurposed into a functional leather tannery, and we could all benefit from the profits? You start drafting plans. These questions simultaneously entertain and haunt you, and you feel a bizarre and growing compulsion to buy a shovel and start digging. ________ (1)&nbsp; John May, "Bringing Back a Fresh Kill: Notes on a Dream of Territorial Resuscitation" in Verb: Crisis. Barcelona: Actar, 2008, p. 94. Exhibition Checklist Sophie Friedman Pappas was born in 1995 in New York, NY. She lives and works in New York, NY. Friedman-Pappas has exhibited at Alyssa Davis Gallery, New York, NY, organized by Octagon (2021); in lieu, Los Angeles, CA (2019); Resort Gallery, Baltimore, MD (2018); King’s Leap, Brooklyn, NY (2018); and ADDS DONNA, Chicago, IL (2017). In 2020, she completed a year-long residency with the Freshkills Park Alliance, New York, NY. Friedman-Pappas received her BFA in 2017 from the Maryland Institute College of Art, and will begin her MFA in September 2021 at the University of California Los Angeles. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/514bf467ae03f0b8ad94f7b0ec62eefdcae4b2f668cde0d35bbf6d5feda42cdc/2.jpg" data-mid="112605546" border="0" src="https://freight.cargo.site/w/1000/i/514bf467ae03f0b8ad94f7b0ec62eefdcae4b2f668cde0d35bbf6d5feda42cdc/2.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/241dd782b845375590331420e72be989afd02fd945c8ef84466fdf4f8e8dda47/3.jpg" data-mid="112605547" border="0" src="https://freight.cargo.site/w/1000/i/241dd782b845375590331420e72be989afd02fd945c8ef84466fdf4f8e8dda47/3.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5af79cf3939bf83906f67953fb03e6ea0fad7cbe5c59723d539adc1938adee48/4.jpg" data-mid="112605548" border="0" src="https://freight.cargo.site/w/1000/i/5af79cf3939bf83906f67953fb03e6ea0fad7cbe5c59723d539adc1938adee48/4.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a9cc36e57da9577094df1ec1823cf76370bfe4ed0d3ebaf7ed512f997991168e/5.jpg" data-mid="112605549" border="0" src="https://freight.cargo.site/w/1000/i/a9cc36e57da9577094df1ec1823cf76370bfe4ed0d3ebaf7ed512f997991168e/5.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/99e478e62aa5b8bd5d7991bd56b244e9cf51baee387d001b2c7b3c0759845eb1/6.jpg" data-mid="112605550" border="0" src="https://freight.cargo.site/w/1000/i/99e478e62aa5b8bd5d7991bd56b244e9cf51baee387d001b2c7b3c0759845eb1/6.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/dac7a123272eefe67071345d8fbcf0ef6911b76da60b48292a52434e3b2f8ba8/8.jpg" data-mid="112605552" border="0" src="https://freight.cargo.site/w/1000/i/dac7a123272eefe67071345d8fbcf0ef6911b76da60b48292a52434e3b2f8ba8/8.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/724d2681bf83b5f2974c65b0f23394697bbf49004c5fdb7a7b4643eafc4a8e22/7.jpg" data-mid="112605551" border="0" src="https://freight.cargo.site/w/1000/i/724d2681bf83b5f2974c65b0f23394697bbf49004c5fdb7a7b4643eafc4a8e22/7.jpg" /> . &nbsp; &nbsp;&nbsp; <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c02918edc75fdd322a4f93d35159f6088b0acf997273b20f92be2b83276f8da6/9.jpg" data-mid="112605553" border="0" src="https://freight.cargo.site/w/1000/i/c02918edc75fdd322a4f93d35159f6088b0acf997273b20f92be2b83276f8da6/9.jpg" /> <img width="2000" height="3000" 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height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/0ca36c6e423ed4890ff39e8e2c89b9d69eca2421dd87e196c2b3f2d81dcb61f2/14.jpg" data-mid="112605558" border="0" src="https://freight.cargo.site/w/1000/i/0ca36c6e423ed4890ff39e8e2c89b9d69eca2421dd87e196c2b3f2d81dcb61f2/14.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/ede07853951b571f53d71178870f91f607d6081e06a83f2c6738fa9d57a9df57/15.jpg" data-mid="112605559" border="0" src="https://freight.cargo.site/w/1000/i/ede07853951b571f53d71178870f91f607d6081e06a83f2c6738fa9d57a9df57/15.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a9fa0aa970a05c2e04dfe7d5e5a222acf9989fef669b557cf201929c7b8215a3/17.jpg" data-mid="112605562" border="0" src="https://freight.cargo.site/w/1000/i/a9fa0aa970a05c2e04dfe7d5e5a222acf9989fef669b557cf201929c7b8215a3/17.jpg" /> <img 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height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/9daaf489040189a3dd1dbf78afae71406fe6cc964ac9e44a71d962e96f753d6d/47.jpg" data-mid="112605594" border="0" src="https://freight.cargo.site/w/1000/i/9daaf489040189a3dd1dbf78afae71406fe6cc964ac9e44a71d962e96f753d6d/47.jpg" /> <img width="1463" height="1699" width_o="1463" height_o="1699" data-src="https://freight.cargo.site/t/original/i/faa6b033fa67091775656e6d72c8d9c5d5078806cc5b7ad9d0cff416aa22556d/48.jpg" data-mid="112605595" border="0" src="https://freight.cargo.site/w/1000/i/faa6b033fa67091775656e6d72c8d9c5d5078806cc5b7ad9d0cff416aa22556d/48.jpg" /> All images courtesy the artist, Octagon, and Alyssa Davis Gallery, New York. All photos: Timothy Mahoney. An immense thank-you to all who made this project possible:&nbsp;Cooper Campbell, Central New York Regional Transport Authority, Federal Reserve Bank of New York, Freshkills Park Alliance, Barbara Friedman, Sabina Friedman-Seitz, Brad Isnard, Andrew Jarman, Timothy Mahoney, Rudy Natanzon, Nickolas Pappas, Hugh Schlesinger, Michael Simiele, Joey Sullivan, and Viktor Timofeev. https://octagon.earth/Transfer-Station-Checklist Tue, 15 Jun 2021 00:36:44 +0000 Octagon https://octagon.earth/Transfer-Station-Checklist Sophie Friedman-Pappas Transfer Station June 12 – August 15, 2021 hosted by Alyssa Davis Gallery 2 Cornelia St, № 1102, New York, NY, 10014 <img width="940" height="1813" width_o="940" height_o="1813" data-src="https://freight.cargo.site/t/original/i/18bfad1653f87daebd5eab0818b2da58ab31428676b6586ddc125b7f243732e9/ADG_Checklist_diagram.jpg" data-mid="111362226" border="0" data-scale="36" src="https://freight.cargo.site/w/940/i/18bfad1653f87daebd5eab0818b2da58ab31428676b6586ddc125b7f243732e9/ADG_Checklist_diagram.jpg" /> 1. Heat Island, 2020. Urine-tanned cod leather, artificial sinew, saprophytic fungi, penicillium mold, aloe fibers, charcoal, watercolor, Apoxie Sculpt, found objects, thread, grade stake, and aluminum foil. 22 x 10 x 8 inches. Like much of Lower Manhattan, the Twin Towers were built on a landfill, and during One World Trade’s construction in 2010 an 18th century sailboat was unearthed. Friedman-Pappas made a version of this found boat and gave it sails made of urine-tanned cod leather, hemmed with artificial sinew. 2. Pitch Coating, 2021. Cast iron, pine rosin, watercolor, NeverWet™, and WD40. Dimensions variable. 3. Into the Wind, 2020. Graphite, colored pencil, and watercolor on paper. 10 x 14 inches. 4. They Spoke of this Fruit with Grimaces of Disgust, 2020. Graphite, colored pencil, and watercolor on paper. 10 x 14 inches. An imagined sewer system where urine is collected and utilized in the processing of animal hides. The title of this drawing is lifted from the first chapter of Émile Zola’s ‘The Fortune of the Rougons’ (1871): ‘... the old abandoned cemetery had been gradually purified by the dark thick-set vegetation which had sprouted over it every spring. The rich soil, in which the gravediggers could no longer delve without turning up some human remains, was possessed of wondrous fertility ... Among the curiosities of the place at that time were some large pear-trees, with twisted and knotty boughs; but none of the housewives of Plassans cared to pluck the large fruit which grew upon them. Indeed, the townspeople spoke of this fruit with grimaces of disgust.’ 5. Perfect Circles Organized from the Top, 2020. Graphite, colored pencil, and watercolor on paper. 9 x 12 inches. An interpretation of One Chase Manhattan Plaza’s courtyard, recently rebranded as 28 Liberty Street. 6. Untitled, 2021. Graphite, pomegranate juice, and watercolor on paper. 8 x 6 inches. An interpretation of sterilized tilapia skins being repurposed as effective bandages for burn wounds. 7. Big Fish Eat Little Fish (After Pieter Bruegel the Elder’s engraving of the same name, 1557), 2020. Graphite, colored pencil, and watercolor on paper. 10 x 14 inches. Though drawing, Friedman-Pappas was able to articulate her most ludicrous ideas of site intervention, ultimately producing a group of surreal architectural proposals. In this drawing, she imagined one of Manhattan’s many buried ships swelling with leachate and absorbing the bank building that it’s pinned under. The structure is sinking into a pool of flames, while Bruegel’s burghers have camouflaged themselves as architectural gargoyles. 8. City Full of Sticks, 2020. Graphite and colored pencil on paper.&nbsp; 12 x 9 inches. 9. Scale Model Figure #1, 2020. Dog bone, found plastic toy, hide glue, sand, and praying mantises. 5 x 4 x 3 inches. 10. Tree in Perfect Circles Organized from the Top, 2020. Phragmites, dried masking tape, hide glue, sand, soil from One Chase Manhattan Plaza’s planter, LEDs, hair tie, hair, fingernails, and a hand carved toy broom. 12 x 4 x 4 inches. A model tree mimics a landscaped office courtyard, bearing its mangled Christmas lights – long after winter –&nbsp; along with other unsavory materials. 11. City Full of Soil (One Chase Manhattan Plaza), 2020. Hide glue, sand, phragmites, saprophytic fungi, penicillium mold, dried rawhide, hand-dug clay, new urban soil, broken diorama, wood from Noah’s Ark toy, pine rosin, and artificial caviar. 22 x 6 x 10 inches. Each brick is made of topsoil and sand from Freshkills Park (the materials that mask the landfill itself), bound together with a collagen-based adhesive (hide glue). Friedman-Pappas constructed a scale model of One Chase Manhattan Plaza, incorporating a translucent dome made of hide glue bubbles as its skylight. The sculpture’s inside, encrusted with hand-dug clay and architectural toys, is illuminated by dangling LED lights and sits on the backside of a broken diorama. 12. Scale Model Figure #2, 2019. Carved and burnt found wood, hide glue, found plastic bottle, and sand. 5 x 4 x 4 inches. 13. Hide Pile, 2021. Urine-tanned sheepskin, and dollhouse furniture. 3.5 x 2 x 2 inches. 14. City Full of Sticks (Sculpture), 2020. Brick, found object, and plastic sequin. 8 x 3.5 x 12 inches. 15. Spotted Cake Topper, 2019. Toy stroller, bee, rawhide, electric candle, and tape. 7 x 10 x 5 inches.