Future Past Perfect | Group Exhibition

Future Past Perfect | Group Exhibition


Mary Jones, Sleeves, 2015, oil, silver leaf, spray enamel and X-ray on panel, 20″ x 16″

Future Past Perfect

Nov. 7th – Dec. 13th, 2015 

Featuring works by Michael Ambron, Mary Jones, Rachel Klinghoffer,    

John O’Connor, & Bayne Peterson

Curated by Lauren Comito

Opening Reception: Saturday, November 7th, from 6-9pm

Projekt722 722 Metropolitan Ave, Brooklyn (Graham L train stop)

The Future Past Perfect indicates that an action will have been completed at some point in the future and simultaneously acknowledges that the action has already taken place. Future actions and forms are recontexualized versions of the past.

These artists are tied together by their interest in exploring the historical progression of totemic forms and seek out the invention of new forms for the future. In Philip K. Dick’s novel “The Man in the High Castle” handmade clay pots become the most valuable relics of a paranoid, fractured culture; a way people could hold on to a trace of their remembered humanity. The artists in Future Past Perfect are similarly invested in the evocation of the earliest signifiers of our human imagination. It is through these hand-created images and objects that we haptically connect, and communicate an empathetic moment through space and time.

As our own technologically driven age becomes one of increasing environmental pressure and cultural fragmentation, volumes of cultural works describing the end of our species have been created, suggesting an apocalypse that is played out with endless variety and circumstances. Clearly, this is something we can imagine. The insistence on materiality and the presence of physical form in these artists’ work suggests a post-apocalyptic present. The metaphor of the artifact that these artists use can range from digital fabrication to ancient cave painting, haiku to personal artifacts; all reflect an unsentimental awareness of our circumstances, and consider the basic elements of what might and could be essential.

Michael Ambron endures varied states of consciousness through his practice of painting; moving away from language and recognition/identification towards the outer margins of sensory perception. He uses the activity of painting to create a distance from the normative modes of engaging with reality, thereby offering the opportunity to experience rich and unusual altered states within his works.

Mary Jones‘ paintings find fragments of human form at the edge of recognition within an abstract process. Eschewing overt figuration, she makes reference to ancient, imaginary sculpture through a layered and intuitive approach. This fragmentation organizes the paintings as a gestalt, intended to evoke a connection with the earliest signifiers of our human imagination.

Rachel Klinghoffer explores an unconventional painting practice that engages with a laborious process of making and collecting. She incorporates personal items that range from lingerie to Hanukkah decorations. These articles evoke her personal connection to femininity, Judaism, romance, and other notions of painting – her works have become specimens, icons, and relics that are poked, prodded, stroked, rubbed, then pulled, torn, and broken apart.

John O’ Connor looks for patterns in the material present in everyday life. His most recent work involves ideas of political and social recurrence – the ways in which class structures are repeated across generations. O’Connor’s work investigates the ways in which information about human behavior is quantified and displayed, as a way to give specific form to the seemingly unexplainable actions people undergo.

Bayne Peterson‘s work is research-based and process-driven, drawing on a variety of narrative, historical moments, aesthetics and ephemera. He explores iterative series that take the form of multiple artifacts presented for study as either scale-shifted representations of the banal or updated modernist gestures. Using 3-D modeling tools within his process, Peterson investigates the limitations and failure of technology to articulate sculptural form.

Lauren Comito is an artist, curator and educator who lives and works in Brooklyn. She dedicates this exhibition to her late professor Frank Bramblett.

*Text written by Ross Klavan and Lauren Comito

New Editions

Lauren Comito: New Editions

November 5th, 2015

Michael Steinberg and Eminence Grise Editions proudly announce the publication of new works by Lauren Comito. Comito’s work incorporates the use of technology and everyday ephemera that is habitually utilized by a mass audience. Specifically her work looks closely at the way images are created, retrieved, circulated and stored.

This body of work is inspired by the correlation between the world of advertising and memory, in particular Edward Bernays’ development of public relations. Employing Sigmund Freud’s writings on psychoanalysis, Bernays paved the way for the world of marketing and advertising through his use of focus groups, which investigated people’s emotional connections to products. Comito mines her own archive of personal digital photography of places she has lived, pairing different packaging containers that came from goods or consumables she associated with that place. Her work alternates between traditional art marking techniques and digital processes. These incorporate barcodes and QR codes that transport the viewer back into the digital realm.

In providing further explanation, Lauren Comito states: “I decided to embed visual QR codes into the prints to incorporate a digital extension to be initiated by the viewer.  Any willing participant can scan these codes to create a further exchange of information, a sort of transaction. The viewer can reflect and project their own narratives onto both the video and physical work before them.”  

The QR codes used by Comito are linked to various types of media, including stop motion animations, image slideshows and video. The barcodes are also linked to the actual products purchased.  QR code and barcode function doubly in Comito’s work, as a gateway to layers of personal history, and as a formal visual pattern.  Comito notes that visual codes of this type have an indeterminate lifespan, which mirrors the ebb and flow of information content in social media.

Lauren Comito currently lives and works in Brooklyn, NY. She received her Masters of Fine Arts in Painting from Rhode Island School of Design. Recent exhibitions include a two-person exhibition at Projekt 722, Brooklyn and a solo exhibition at Slag Gallery, Brooklyn.

Eminence Grise Editions is the publishing division of Michael Steinberg Fine Art. This new venture will continue Michael Steinberg’s long-term commitment to innovative editions by contemporary artists.  Among the recent publications are works by Derrick Adams, Ok Hyun Ahn, Lauren Comito, Yevgeniy Fiks, and Sandrine Guerin.

Philadelphia Containers, 2015, pigment print with QR codes and barcodes on Hot Press, 20 x 24 in, Edition of 18

Philadelphia Containers, 2015, pigment print with QR codes and barcodes on Hot Press, 20 x 24 in, Edition of 18

Editions/Artists’ Books Fair 2015

EAB Fair

This November I am participating in the Editions / Artists’ Books Fair in New York City. I am happy to announce that I will be releasing a limited printed edition, published by Eminence Grise Editions. The fair will take place from November 5th through November 8th.

Fair Schedule VIP + ticket holders
Thursday, Nov. 5th, 6 -9pm FREE
Friday, Nov. 6th 11am – 7pm FREE
Saturday, Nov. 7th, 11am – 7pm FREE
Sunday, Nov. 8th, 11am – 5pm FREE

Brooklyn Containers, 2015, Pigment print on Hot Press with QR codes and barcodes, Paper size: 24 x 20 in, Published by Eminence Grise Editions, Edition of 18

Nothing / Will Have Taken Place / but the Place


Marllarmé, A Throw of the Dice







Lauren Comito and Sarah Pater. Curated by Hilary Doyle
Opening Reception Saturday, August 1, 6-9pm

August 1st – 23rd, 2015

Projekt722 is pleased to present “Nothing / Will Have Taken Place / but the Place”, a show of work by Lauren Comito and Sarah Pater. The exhibition takes its title from Marllarmé’s poem A Throw of the Dice, in which the “nothing” moment before the die is cast is charged with meaning—empty spaces between words evoke silence and achieve abstraction.

The work of Lauren Comito and Sarah Pater investigates places of solitude. Both Comito and Pater explore day-to-day life, containment, and archiving in different ways.

In Comito’s Container Series, collected containers from food and everyday goods purchased over the course of one year lead to several related bodies of work. In one phase of the project, Comito made plaster casts of each container to make “solid blanks”, which give form to the negative space from within each vessel. In her Everyday Color Sample project, Comito combines photos of places she has lived (Providence, Philadelphia, Brooklyn) layered with flattened packaging containers that she associates with these places. Color is determined digitally using Photoshop to create color samples derived from her personal photo archive of these spaces. Using her own internal logic, Comito creates an inventive form of representation by combining everyday moments and ordinary objects to discover new psychological implications of the commonplace.

Pater documents the quotidian experience of everyday spaces using the language of reductive painting and repetition. She catalogues and extracts solitary moments from her office environments, such as a series of aloe plants near a window meant to “soothe” the worker. Two large paintings depict ominous shadows cast by plants on walls in evening light. The peaceful solitude initially suggested by the paintings is offset by a sense of stifling confinement. Artist Jackie Gendel writes: “Pater’s subtly humorous subject is the strange spatial absence found at the intersection of office space and office time; where the question of utility is fraught with the anxieties of ‘spending’ and ‘wasting’, as opposed to the reverie of ‘passing’ time and ‘traversing’ space.”

Projekt722 is an art gallery in Williamsburg, Brooklyn that hosts exhibitions by contemporary artists and independent curators. Projekt722’s mission is to be a exhibition platform for great work, to contribute to the city’s diverse art community, and to promote dialogue around important contemporary artists.

Projekt722 is located at 722 Metropolitan Ave, Second Floor, BrooklynNY  11211


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