#jon kessler

ISSUE Project Room 2019 Gala October 16th 2019

Keanu playing with Robert Longo (artist and director of JOHNNY MNEMONIC) and Jon Kessler (who plays guitar for the X-Patsys, a band he started with artist Robert Longo and actress Barbara Sukowa.)

jon_kessler

It’s not everyday I get to play guitar with Keanu Reeves and Robert Longo

#issueprojectroom #rhyschatham #robertlongo #keanureeves Thanks to @ginagershon for taking the photo

10_17_2019 (posted)

A Page from the Drawing Papers Archive

This page from Drawing Papers 72 features Face in a Crowd #1, made with collaged magazines and angora yarn on handmade paper by Jon Kessler in 2007.

The 2007 exhibition, Jon Kessler: Works on Paper, was the artist’s first exhibition of drawing-based work, consisting of portraits collaged from magazines and newspapers that confronted the collusion of advertising, propaganda, surveillance, and technology. The corresponding catalogue, You Have 43 Friends, was the artist’s project featuring images of his imagined MySpace friends.

The Drawing Papers are a series of publications documenting The Drawing Center’s exhibitions and public programs and providing a forum for the study of drawing. For more information about Drawing Papers 72, click here.

Philip Taaffe, Aspidium, Pteris, Sage, 2014, mixed media on canvas, 55 ½ x 65 ¼ inches © Courtesy of Philip Taaffe and Luhring Augustine, New York.

Deborah Anzinger (‘16), Matthew Day Jackson (’02), Jon Kessler (F ‘07), Suzanne McClelland (F ‘99), Philip Taaffe (F ‘93) and others The Coverly Set Sargent’s Daughters 179 E Broadway, New York, NY 10002 May 24- June 30, 2017 Opening Wednesday, May 24th, 6-8pm

Sargent’s Daughters is pleased to present The Coverly Set, a group exhibition of painting, drawing, video, sculpture and installation. The exhibition will be on view from May 24 through June 30, 2017.

The exhibition takes its title from Tom Stoppard’s play Arcadia, in which 18th century Thomasina Coverly plots the mathematical equation for a leaf well before the invention of computers. Coverly, who is loosely based on Ada Byron King, Countess of Lovelace, asks:

“If there is an equation for a curve like a bell, there must be an equation for one like a bluebell, and if a bluebell, why not a rose? Do we believe nature is written in numbers?”

The natural world and the digital world are often viewed as being at odds with each other, with the natural usually cast as “good” and the mechanical as “evil”. This simplistic notion of natural vs. digital is at odds with reality, in which the meeting point of the nature and science is far more complex. Artists have long been drawn to the inherent possibilities of rendering the natural world numerically, as in Fibonacci sequences and Umberto Eco’s calculations of ideal beauty, and this intricate relationship has become more pronounced as technology becomes not only a subject for art, but the means by which it is made.