Kari Adelaide
Ariele Affigne
Vanessa Albury
Sörine Anderson
Ronnie Bass
Lea Bertucci
Jesse Bransford
Jennie Hagevik Bringaker
Elaine Cameron-Weir
Jung Hee Choi
Grayson Cox
G Lucas Crane
Jonathon deSimone
Sonja Engelhardt
Marthe Fortun & Samuel Consiglio
Mila Geisler
Tracey Goodman
Jennifer Gustavson
Jon Huron
Nick Imondi
Juliet Jacobson
Alex Jovanovich
Eun Jin Kim
Jiyoon Koo
Ellie Krakow
Nicole Kuprienko
Justin Leathers
Stephen Lichty
David Matorin
Sandra Moak
Jeremy Olson
Deniz Ozuygur
Charlemagne Palestine
Elwyn Palmerton
Janine Polak
Mike Pollard
Adam Putnam
Max Razdow & Ollie Razdow
Tyler Rico
Alex Robins
Rosalynn Rothstein
Allison Somers
SISTER SYLVESTER
Jo-ey Tang
Gordon Terry
Andrew Thompson
Sam Tierney
John Torreano
Audrey Tran
Nickolaus Typaldos
Patrick Walsh
Matthew Jay Wilson
Jan Van Woensel
Korey Vincent
Helena Zhang

One and Three Quarters of an Inch is a one-week group exhibition at the Former Convent at St. Cecilia’s Parish in Greenpoint, New York, opening on Saturday, September 11.  The exhibition will bring together the work of 55 artists working in a wide range of media, including painting, sculpture, photography, drawing, performance, video, sound, text, and installation.  Taken together, the works represent a matrix of intermingling and sometimes contradictory themes that resist reduction, cohering on the grounds of attitude rather than specific form or content. 

As the title suggests, One and Three Quarters of an Inch engages modes of communication that involve the simple statement of fact without description or referent, and without explanation of meaning.  What happens to communication between subjects when meaning is either (1) so commonly agreed upon that any stated fact can be understood without ever speaking about what it might mean, or (2) so complicated and fragmented that attempting to specify meaning becomes impossible?  Perhaps, mired in an abyss of either too much or too little meaning, we call on a last resort wherein a simple fact becomes the only possible speech utterance.  In this case, the title evokes the normal, diminutive, comprehensible, and embodied fact of measurement—one and three quarters of an inch—to take the place of any coherent theme or project.  Likewise, One and Three Quarters of an Inch engages artworks as fact-objects deployed to access meanings that are otherwise intangible or unspeakable.

One and Three Quarters of an Inch will take over all four floors of The Former Convent at St. Cecilia’s Parish, a seductively decrepit nunnery-turned-art-space.  Comprised of more than 30 rooms and echoing with a history of devotion and ritual, The Convent appropriates—and is appropriated by—whatever is deposited there.  Complicating a one-to-one relationship between viewer and artwork, The Convent throws viewers and artists alike into a performative negotiation of meaning in architecture.

One and Three Quarters of an Inch will be presented in the dark, offered up by way of flashlight.  Theatricalizing the act of seeking intentionality in objects and emphasizing the sensual experience of seeing, the flashlight-as-mobile-proscenium will generate a series of focused and intimate viewing moments.  Objects can only ever be seen from one angle at a time. The directional optics essential to visual experience thwart the impulse toward knowledge in the round.  Moving in the dark, flashlight in hand, we fall back into our bodies as the line between ourselves and what we see becomes manifest.  Reflected back, from a halo of light through a beam of perception, objects-as-facts expand and transform: moments to meanings, desperation to desire, dispatches into darkness.