Orange Art
What Is Your Reality in the Pandemic Era?
Jurors: Anthony Haden-Guest, Jonathan Goodman, Deborah Jack, Kuzma Vostrikov, Ajuan Song
September 25 – October 25, 2020
With artists: Adriano Marinazzo, Allan Morris, Arseniy Grobovnikov, Ashton Stuart Lyle, Bria Sterling Wilson, Bridget Moreen Leslie, Catherine Goode, David Alpert, Eliette Markhbein, Georg Katstaller, Gregg LeFevre, Jeong Hur, Joel Tretin, Julia Forrest, Layla Love, Linus Coraggio & Curt Hoppe, Michaela Lahat, Natalia Neuhaus, Nene Aissatou Diallo, Samantha Bias, Sharon Draghi, Tere Garcia, Ultralost9
Orange Art Foundation is pleased to present What Is Your Reality in the Pandemic Era?, a juried group exhibition of photographic works selected from artists’ submissions from all over the world. A public reception with social distancing opens the exhibition on Friday, September 25, from 4–9 PM. What Is Your Reality in the Pandemic Era? will be on view through Sunday, October 25 at Stoodio One, and online.
Joel Tretin, who creates surreal images that are invested with humor, has an interesting piece among the works he submitted for this show: people eating outdoors on tables with white cloth, close to touching distance from garbage trucks lined up on the edge of the curb.
David Alpert takes informal photographs that relay information about how we live our lives currently.
LINUS CORAGGIO & CURT HOPPE
PANDEMIC POINTY RAIN COMING DOWN, BOXING MY SPACE WITH EDGY UNRELENTING INTENSITY, 2020
In Allen Morris’s remarkable black-and-white images of landscape and trees, the framing of the foliage by a white background gives the pictures an intensity of motive that is explainable only in terms of image recognition rather than the discussion of the artist’s intention.
New York is full of visual surprises, and he makes use of the eccentric sights he either comes upon or imagines to pose a point of view that is lighthearted, meant to lift the viewer’s spirits.
The artists presented in this exhibition all are very different from each other—a tribute to the essentially pluralist condition of image-making everywhere. Fine art survives no longer because of movements but because of individuals who promote particular visions indicative of their own imagination.
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