Gae Savannah
Time 2021-10-24 14:09:25Web Name: Gae Savannah
WebSite: http://gaesavannah.blogspot.com
ID:211460
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Gae,Savannah,Description:
keywords: description: Gae Savannah Monday, August 25, 2014NEW WEBSITE COMING SOON. STAY TUNED...
Jaffy, Lusterature at Art Viceroy, MiamiLabels: click to enlarge
NuharhuLabels: click to enlarge
Thursday, January 05, 2012 Sea Foam C-print
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Aqua Ice'Aqua Ice' chromogenic print ©gae savannah 2012
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Glazehaze'Glazehaze' chromogenic print © gae Savannah 2012
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Aglasia'Aglasia' chromogenic print ©gae savannah 2012
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Eglissia'Eglissia' C print © gae savannah 2012
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Wednesday, January 04, 2012 Iglissia
"Iglissia" archival chromogenic print © Gae Savannah 2012
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Sunday, July 04, 2010 Rhydal (detail) 2010
'Rhydal' (detail) © Gae Savannah 2010
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Saturday, July 03, 2010 Rhydal
'Rhydal' © Gae Savannah 2010
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Friday, July 02, 2010 Lhan Tian
©Gae Savannah 2010
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Wednesday, June 30, 2010 Belize
©Gae Savannah 2010
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Tuesday, June 29, 2010 Bedahla
©GaeSavannah 2010
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Sunday, February 14, 2010 Veritascopyright Gae Savannah 2009
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Saturday, February 13, 2010 Digital Confectionary ig78
copyright gae savannah 2010
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Splana C printLabels: click to enlarge
Digital Confectionary (dc1063)
copyright Gae Savannah 2009
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Digital Confectionary (dc1083)copyright Gae Savannah 2009
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Friday, February 12, 2010 Digital Confectionary (dc0922aa)copyright Gae Savannah 2009
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Wednesday, September 30, 2009 Cakes (installed at Rupert Ravens Contemporary)Labels: click to enlarge
Tuesday, September 15, 2009 Pink Loavescopyright Gae Savannah 2009
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Monday, September 14, 2009 VANITAS Copyright Gae Savannah 2009
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Saturday, September 12, 2009 Vanitas detail-048copyright Gae Savannah 2009
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Friday, September 11, 2009 Glamour Trance statement GLAMOUR TRANCE
Undine Spragg "liked to know that what belonged to her was coveted by others.” Altogether, “she relished the image of her own charm mirrored in people around her.” Edith Wharton Custom of the Country.
The CAKES serve frothed up castles of delusion, hyperbolic princess-lands that ooze the saccharine, nuclear-pink glow of the girl toy aisles in FAO Schwarz. Think Rita Heyworth in the film “Gilda,” --hypnotic sizzle. Glamour Trance freezes time and stunts emotional development, yet supremely entertains. In Nabokovian poshlust-glitz, the CAKES embody both entrancing appearances, and the intoxication they kindle.
In Society of the Spectacle Guy DeBord delineates a “social space blanketed by stratum after stratum of commodities,” where "consumerism is tautological.” Acting out circular reasoning, one moves round and round the large CAKES drawn into mirrors and enticing layers of stuff. Likewise, shoppers are lured into a buying loop by “the cunning of the self-perpetuating commodity,” its siren call of more, its cellophane promise to raise one in the glazed esteem of one’s social circle.
The CAKES muse on counterpoles, paradoxes in our value systems. On one hand, we, drugged on stockpiling, have lost some essential function of the heart. Wrapped up in buying-lust, we miss the turpitude growing insidiously all around us. Blind eyes are turned to the military industrial complex and other corporate scourges: drone slaughter, daily torture of gentle farm animals, massive, windowless, solitary-confinement prisons.
That said, emotions and cultural insight can lurk in the shadows of display racks. Through fashion, one establishes persona, if not core identity in the social sphere. Overstated adornment is paramount in significant rituals of primitive people. The CAKES invoke Nietzsche’s autocratic child’s games, forgetfulness, and self-rolling wheel.
Likewise, asserting the interdependence of the ‘substantial’ and the ‘superficial in her craft, Helene Cisoux acknowledges “writing’s necessary relation with narcissism.” In fact, her ecriture feminine espouses “contradiction, incongruity, and polyvalent meaning.” Submerged in the depths behind the surface of the glossy CAKES is a “level of subconscious,” “an inner text in the text.”
A heretic, I worship the Golden Calf. I insert an escape clause into contemporary art’s oligarchical governance. (Descartes, Duchamp, Warhol, and God.) I profane their sacred cow: cold, anti-retinal, banal, Puritan. As Carter Ratcliff put it, "beauty” is “the spook in the theoretical machine." If a big fluffy white dog saunters into a meeting of pedigreed curators, it will steal the attention of all—concepts temporarily thrown to the wind.
In the film “Big Animal,” a fabulous show camel turns up to share dinner through the window of a dour Eastern European couple’s abode. The camel brightens their lives and cheers all who encounter it. Then the pragmatists come upon the dear being and start to ring up the cash register, calculating what pelts and meat would bring on the open market. Meanwhile other “good citizens” see a non-contributor in the camel. “He should be paying taxes, should be working,” etc. they carp self-righteously. In the end with new fur cap on a boy, we surmise what happened. Yet all the same, the couple’s emotional demeanor has been transformed permanently through communion with the fanciful mystical creature. Similarly, nodding to Lao Tzu’s ‘greatest treasure,’ ‘contentment,’ the CAKES signify quixotic, purposeless diversion.
Gae Savannah 2012
copyright gae savannah 2007
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Wednesday, January 02, 2008 TAHLAcopyright Gae Savannah 2008
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Tuesday, January 01, 2008 TAHLA Lushia Aviva at Rupert Ravens Contemporarycopyright gae savannah 2008
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Thursday, July 05, 2007 Sawu (breeze catcher) 2007Labels: click on image to enlarge, copyright gae savannah 2007
Nehara detailLabels: copyright gae savannah 2007
Nehara (breeze catcher) detailLabels: copyright gaesavannah 2007
AvivaLabels: copyright gae savannah 2007
Installation shot, Beijing May 2007
©gae savannah 2007
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Lu Shia (detail)Labels: copywrite Gae Savannah 2007
CURRENTS
Just back from a 7 week residency in China!
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1) New York Times review - Sunday, July 1st
(includes 2 images of GS sculptures)
Singularity in the Communal Tide
curated by Rupert Ravens
Gallery Pierro May 13-July 15, 2007
NYTimes Page (lo-res) (hi-res)
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2) Dream Palace
curated by Alfredo Martinez, Marc Hungerbuhler, and Li Feixue
A-Space, 1Artbase,
Beijing, CHINA
June 16-July 22, 2007
Artists: Alexis Raskin
Alejandro Diaz
Agnieszka Kalinowska
Aenon Loo
Aaron Yassin
Alfredo Martinez
Arturo Elizondo
Aviva Beigel
Camila Sposati
Claudia Kapp
Ferran Martin
Gabriel Acevedo Velarde
Gae Savannah
Greg Santos
Gregg Biermann
Jacob Williams
Jeanette Doyle
Jeff Gompertz
Jonathan Cowan
Jorge Usan Martin
Judas Arrieta
Karin Suter
Katja Loher
KristianVodder Svensson
Lili Chin LoVid
Marek Goldowski
Natalie Bewernitz
Nemo Librizzi Noel Fortune
Oliver Lyons
Papo Colo
Pawel Wojtasik
Peter Kveseth
Peter Wayne Lewis
Przemo Wojciechowski
Riiko Sakkinen
Wolfgang Stiller
Wang Jinsong
Feng Jiangzhou
Feng Yiying
Lu Yunting
Deng Yifu
Liu Wei
Liu Bolin
Liu Hexian
Ren Sihong
Qi Mengguang
Qi Zhonghua
Zhu Nengguang
Fexue Li
Chen Wenling
Chen Guangming
Wu Di
Wu Huiming
Zhang Dong
Zhang O
Zhang Peng
Zhang Hui
Zhang Jianglian
Zhang Xuemei
Zhang Jianhua
Zhang Chunyang
Zhang Botao
Zhang Tiemei
Li Xi
Li Xiaofeng
Li Shuyang
Song Chao
Yu Ji v Lin Zijie
Qiu Zhijie
Zhou Jun
Zhou Tiehai
Zhong Tianbing
Li Chun
Yuan Ye
Xu Xiaoyan
Huang Yan
Huang Gang
Jiang Huajun
Liao Jianhua
Pan Xinglei
Wei Dong
Dream Palace - More Info
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3) Interview with editor Carol Schwarzman on wburg.com
Fool's Paradise - Interview Here
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4) Recipient - Malka Lubelski Foundation Grant
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5) Dangerous Beauty - Opens at a Museum in Naples
curated by Manon Slome
PAN | Palazzo delle Arti Napoli
July 5-October 23, 2007
Artists: Nelly Agassi
Beth B
Sergej Bratkov
Nicola Costantino
Jacob Dahlgren
Davis Davis
E. V. Day
Martin C. de Waal
Daniella Dooling
Sylvie Fleury
Anna Fusco
Lauren Greenfield
Margi Geerlinks
Kirsten Geisler
Micha Klein
Paul Knight
Rachel Lachowicz
Assi Meshulam
Marilyn Minter
Joshua Neustein
Erwin Olaf
Orlan
L.A.Raeven
Rosy Rox
Gae Savannah
Joan Semmel
Joseph Stashkevetch
Ruud van Empel
Museum Site
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6) Exhibited 2 fabric sculptures at
CIGE - Beijing Art Fair
with China Arts Contemporary,
June 2-5, 2007
Labels: copyright gae savannah 2007
Monday, April 23, 2007 Tiskitte
© Gae Savannah
"Tiskitte" 2000; plastic claw clips, styrofoam, fabric; 31” x 34.”
Labels: copyright gae savannah 2007
Saturday, April 21, 2007 Starling
copyright Gae Savannah (2007)
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Starling (detail from back)copyright Gae savannah (2007)
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Wednesday, July 12, 2006 Nyassa
Labels: copyright gae savannah 2006
Tuesday, July 11, 2006 Nyassa detail
Labels: copyright gae savannah 2006
Contemporary Sculpture and Installation in new materials
About MeName: Gae Savannah Location: New York, New York, United StatesThe sculptures of Gae Savannah are not what they appear to be. Loud and bright, they couldn't be more conspicuous; and yet they also hide, cherishing a lonesome interiority under a veil of spectacle. Their psychic work on the viewer is subtle and slow; at first, the large sculptures seem imposingly grandiose and saccharine, while the smaller ones look like pretty, innocent objects d'art, what used to be called "conversation pieces." But a half-hour in their presence has us caught in a revaluation of our aesthetics and a re-experiencing of our vexed culture of makeup and models and ornaments. At the first sight of "Angelique," a sophisticated reader might dismisses the sculpture as decorative (which is equivalent to calling a painting a "mere" illustration), or embrace it as sweet and harmless. Once you've done so, the weird glitz of the work is no longer a threat, and the seduction begins. You come to love the thing, and then feel a bit guilty for your initial reaction — so the blossoming footstool has got you, ethically and aesthetically. ------------Jamey Hecht, PhD, writer, American Book Review, Splash magazine, FromTheWilderness.com
View my complete profile
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