Thursday, February 5th, 2015My work is featured in the online publication A Perimeter
Tuesday, July 1st, 2014“The Menagerie” Installation Photos
Tuesday, July 1st, 2014Installation Details
LAUREN COMITO: Artist Statement
“The Menagerie” presents a selection of works taken from my ongoing Search Engine Project that has persisted over the last three years. Initially I was interested in how commonplace Google Image Search has become and how it is utilized in everyday life. The project began by conducting a series of image queries using the phrase “no comment”. I chose this phrase for its ambiguous meaning and for the potential variation within the query.
The search engine also became a place for aesthetic inquiry. The formal display of Google Image Search is gridded in such a way as to be reminiscent of Modernist painting and architecture. Relationships between images are coalesced through formal devices such as resizing and containment. The viewer is left to have a fluid and cohesive aesthetic experience, via unitization of disparate images, although the viewer’s sense of scale and resolution (quality) of these images is always indeterminate.
The two large paintings in the exhibition pay tribute to this formal display. Over the years Google has added further customization features to its image search. One of the more recent features is a time-based search. For seven days I tracked both the 24-hour image search query and the default search query. These two paintings used the first “page” of results as a formal mapping. Each image was reduced to a rectangular block of color that was dictated by the most dominant color found within the image.
The varied material investigations employed attempt to mimic common digital image manipulations, such as applying filters, superimposing and skewing. The resultant physical manifestations investigate how the display of the search engine, as well as the images themselves, operate when placed into the physical realm.
The Stilllife works on paper began by printing the query images at their actual size rather than their display size. These image prints were mounted to individually cut pieces of foam-core that correspond to their print size. The digital images thus become transformed into literal building blocks that can be physically rearranged. I assembled these image-objects into stacks, which then served as a still life to paint from.
The query images are at times printed onto different types of fabric and either stretched over an armature or allowed to embrace the sag of that particular fabric. The Search Engine Nightlights are paintings comprised of stretched digital prints on fabric and many layers of mark-making, which create a literal physical thickness. In order to see the previous underlying layers the paintings must be illuminated from the backend. Baggage is comprised of ten enclosed cotton voile pouches. The images were first digitally superimposed and printed onto transparent fabric. These pieces are deflated shells; the surface image now a transparent flaccid skin lacking a skeletal structure.
Tuesday, June 3rd, 2014“The Menagerie” new works by Lauren Comito
June 13-July 13, 2014
Opening Reception, Friday, June 13, 7-9 PM
Slag Gallery is pleased to present “The Menagerie” featuring new works by Lauren Comito.
Mining from mediums of mass culture like Google image search, Comito’s work explores the implications of several genres of art making. The work brilliantly succeeds in establishing a constant, resonant voice throughout the exhibition. Working with the limitations and possibilities of new media, Comito renders answers that are both creative and critical, her entire oeuvre conveying a unique sensibility.
All of the images that make up the work featured in this show were retrieved from the Google image search of the phrase no comment. This search was conducted several times over the last three years. The term was chosen for its blanketing ambiguity as well as for the concrete variations attained in the resulting search.
“In my studio I engage with multiple projects that may have divergent trajectories. Shifts in perception and the way in which we navigate through ‘space’ occur frequently. I cannot choose a fixed position but rather attempt to locate temporary placements. I produce work that is reactionary and in correspondence to a sensibility to control. I am interested in exploring notions of image construction, as seen in both painting and common digital processes. My work utilizes a combination of procedures that alternate between digital processes and physical/material manipulations. Reformatting and mechanisms of cropping, duplicating, scaling and saturating are simple devices that create a shift in perspective and urgency.”
Comito received her MFA from Rhode Island School of Design, 2013 and her BFA from Tyler School of Art at Temple University, Elkins Park, PA, 2007. This is her second solo show in New York. Her works are featured regularly in group shows in the US and are a part of numerous private and public collections around the globe.
For press inquiries and reproductions, contact Irina Protopopescu at 917.977.1848.
For general inquiries, contact the gallery at 212.967.9818, or visit www.slaggallery.com
56 Bogart Street, Ground Floor, Brooklyn NY 11206
LOCATED ACROSS THE STREET FROM THE MORGAN L TRAIN STATION
THURSDAY – SUNDAY, 1 pm-6 pm
MONDAY – WEDNESDAY BY APPOINTMENT
Wednesday, February 26th, 2014Trying to Read Between the Lines: Empirical Timeline 2011-2013
Wednesday, February 26th, 2014Installation Photos of Idiosyncrasy Gallery
Friday, February 14th, 2014Trying to Read Between the Lines
FOR IMMEDIATE RELEASE
Brooklyn, NY—February 12, 2014
Lauren Comito: Trying to Read Between the Lines
Exhibition: February 20th to March 15th, 2014.
Opening Reception: February 20th 8PM. Idiosyncrasy Gallery
Idiosyncrasy Gallery proudly presents “Trying to Read Between the Lines”, a solo-exhibition featuring the most recent works by contemporary artist, Lauren Comito. This latest work includes mixed media and installation pieces that celebrate the ambiguity of perception and the power of sensory experience. Comito’s work blends new media and more traditional technique, producing self-lit paintings and an impressionistic element in her film pieces. The low-lit exhibition invites the viewer to explore his or her relationship with light and image in a way that is simultaneously challenging to the senses and alluring to the intellect.
The work will be available for viewing at Idiosyncrasy Gallery beginning February 20th with the opening reception through March 15th. The Gallery is open weekends 12-5 and by appointment.
Contact: Pritchard@idiosyncrasybk.com for more information.
976 Grand Street, Studio D Brookyn, New York 11211 idiosyncrasybk.com
Tuesday, January 14th, 2014PAINTING WALL (Janus at 8:16)
PAINTINGWALL (Janus at 8:16)
January 2nd –February 2nd, 2014
Saturday, January 25th, 3-6pm
Beverly Acha, Julia Bland, Will Brasfield, Ali Chitsaz, Gaby Collins Fernandez, Lauren Comito, Ala Dehghan, Sara Dehghan, Victoria Duffee, Jessie Edelman, Maria Elvira Dieppa, Eric Mack, Florencia Escudero, Kati Gegenheimer, Jennyfer Haddad, Omid Hallaj, Meena Hasan, George Heintz, Taha Heydari, Maryam Hosseini, Jon Peck, Haley Josephs, Doron Langberg, Austin Lee, Carlos Martinez, Wayde McIntosh, Romina Meric, Katrina Mortorff, Kristin Richards, Amy Rinaldi, Kenny Rivero, Chloé Rossetti, Jason Segall, Randi Shandroski, Vahid Sharifian, Cal Siegel, John Szlasa, Shabahang Tayyari, Karen Tepaz, Emmy Thelander, Courtney Tramposh, David V Whelan.
Curated by Ala Dehghan and Florencia Escudero.
Heralding the New Year is “PAINTINGWALL (Janus at 8:16),” a group show of paintings on a purpose-built central wooden wall, eight by sixteen feet, named, like the month of January, after the two-faced Roman god Janus. Each artist has contributed an even number of pieces—either two or four—to the wall, one or two on each side, back-to-back like those fabled godheads. To travel on foot around this wall is to embody Janus: As one walks around the wall, seeing first one side and then the other, one must use one’s figurative “second head,” looking back into memory, to recall the first works seen as the second ones come into view.
Janus, Roman god of beginnings, doors, gates, passages, transitions, endings, and time, was evoked at the beginning of most Roman ceremonies, regardless of the main deity to be honored. How fitting, then, to evoke Janus’ myth at the beginning of this year, during his namesake month, at the site of a wall, connoting Ianus geminus. The shrine, when closed during times of peace, formed a walled enclosure with gates at each end. Rarely, however, were the gates closed during the reign of the Roman Empire. Equally, the effect of this wall of paintings, though tranquil, is confrontational: to construct such a wall is to deny the existing white cube of the gallery space as structural support for the creative process.
Heightening this effect, the walls of the gallery itself are empty, numbered only with their dimensions in small black lettering on the center of each. Further, the wall of paintings is angled as such that the works cannot be seen through the gallery’s windows from outside, denying voyeurism. Indeed, the entire relationship between viewer and work is inverted; the paintings, crowded together in the center of the space, look back at the space, toward the white cube as well as the viewer, who is silhouetted against the empty walls.
Adding to this come-together effect is the lack of wall text for each work; though the works are from studios around the world (as near as Brooklyn and as far as Iran), in media as diverse as linen, yarn, bleach, oil, pastel, burnt canvas, glue, cement, sawdust, and clocks (moving anti-clockwise), and featuring imagery from angry Persian birds to pixels, roses to bees, snowflakes to sex, they gather anonymously; a faceless crowd of resistance.
The “PAINTINGWALL,” then, becomes its own entity, a roaming group show that points out the white cube as a site itself, a now-ubiquitous artworld structure initially created to negate site. As the wall could travel, moving in and out of different contexts, it no longer strictly needs the gallery space in order to function. “PAINTINGWALL” stands up for itself.
Chloé Rossetti is a New York-based artist, writer and filmmaker, a regular contributor to Artforum.com and The Brooklyn Rail.
Thursday, September 26th, 201320/92 Video Screening at Crane Arts in Philadelphia
If you find yourself in Philadelphia on September 26th go see my video About Face that is featured in this one night only screening!
Crane Arts is pleased to announce the 20/92 Video Screening, a one night event September 26, from 6-9pm, with a special performance by Bardo Pond immediately following.
52 videos, each one minute or less in length, will be screened in the Icebox Project Space, utilizing its unique projection system, capable of casting a continuous image at 20’ x 92’.
The evening’s program, selected from an open call, highlights varied approaches to video and motion, with a particular focus on scale.
All concession sales and donations during the event will directly support the collaborative efforts of Title Magazine, The Nicola Midnight St. Claire, and McCartney/Belknap projects in the upcoming “Citywide” exhibition this November.
Juried by Tim Belknap and Ryan McCartney, co-directors at the Icebox Project Space
Monday, July 22nd, 2013Well, RISD MFA Painting 2013
Projekt722 is pleased to host an exhibition of work by the 2013 RISD Graduate Painters.
July 6th-28th 2013
Saturday, July 13th, 2013, 6:00pm-9:00pm
722 Metropolitan Ave, Second Floor, Brooklyn, New York 11211
Well / RISD MFA PAINTING 2013
July 6 – 28 / Opening Reception Sat. July 13 6-9pm
The Deepening Well
Imagine a ripe nectarine softened by the summer solstice’s warm embrace. You pluck and squeeze it, leaving riven what was hitherto pure and sweet. That is my heart. Then there is my shattered ego. Its restoration, even partially and imperfectly, is nigh impossible. How could you not love me forever after two years of commitment, of mutual nurture, of vibrant dialogue? I weep for that which was and that which could have been. And after tear ducts dry, I extract one after the other my desiccated eyeballs, smack them open on a stainless top slop sink, and grind the uneven shards into forearms bared. We had it perfect in Providence. How could you leave? Now, I bleed for you as if I bled for you always, and will continue bleeding.
A deep bell—a death knell?
(At least Jonathan Frioux won’t go to hell.)
From Claudia Bitran,
a ditty from Adele;
And from Zach Seegar, aka Guy Gilbert,
an article in a resuscitated Tel Quel.
Citadels from a perverted Dwell
build J. Bochynski, but can he spell?
Taniya Vaidya and Wally Dion:
Dresses in toile swell; controlled pell-mell.
A logo from Intel, spreadsheets from Excel?—
Lauren Comito, do tell.
Rebel yell! yells Douglas Burns,
and from Rachel Grobstein,
tableaux in the scale of mushrooms, morels.
All is well.
–Christopher K. Ho
Wednesday, June 26th, 2013“Our Show Needs a Name”
For more info visit:
Tuesday, May 7th, 2013RISD Graduate Thesis Exhibition 2013
Dear Friends and Family,
Hope you all are well and are having a good year!
This spring I am receiving my Master’s Degree from Rhode Island School of Design. As part of my Graduate Thesis I am participating in a group exhibition at the Rhode Island Convention Center in Providence. The exhibition itself is a pretty amazing feat, featuring the work of 194 graduate students in both the Fine Arts and Design disciplines. I know this will be a spectacular show!
RISD Grad Show 2013
The opening reception is May 16th from 6-8pm. The exhibition will be up through June 1st and will be open daily from 12:00-5:00pm. The Rhode Island Convention Center is located at 1 Sabin Street, Providence, RI. For further information visit the link above.
To get a closer look at some of the work I have made over the last two years visit my online portfolio.
Also, check out this website that myself and my peers in the Painting Department put together to showcase our work. I feel very lucky to work along side of these terrific artists.
If you find yourself in New England stop by and check out the exhibition. Also, stay tuned for two more exhibitions that I am participating in this summer in New York City.
Friday, July 13th, 2012Two Become One Exhibition
July 15 – August 5
Opening Reception: Sunday, July 15, 6-9 pm
An Opening Reception for Two Become One will be held July 15th from 6pm-9pm, and the work will be on display until August 5th.
Two Become One is a group exhibition from the RISD MFA program in Painting being exhibited at Wayfarers, Brooklyn. Nine artists have been gathered to present the textured landscape that snakes up and down the 2nd and 3rd floor stairwells of 62 Prospect Street in Providence.
The show opens with a wall-sized video projection of a landscape folding in upon itself by Lauren Comito. The immediate sensation is similar to what one imagines it would have been like to sit in the front row during the famous “stargate sequence” that ends Stanley Kubrick’s 2001: A Space Odyssey. As the collision fades, five clones of artist and celebrity impersonator Claudia Bitran emerge, and without backing music, provide a hypnotic serenade drawing you further into the dark.
Much of the work feels site-specific like that of Rachel Grobstein, Zach Seeger and Joe Bochynski. Bochynski has cut a hole in the whispering wall and embedded a digital parasite that draws its power from the gallery wiring. Grobstein lights a delicate mirage of paper tricycles that have been swept into a corner like a tumbleweed. Seeger’s richly decorated canvases are broken and bound together making figures that remind one of the battered scarecrows of the original Planet of the Apes, which stand just at the edge of the Forbidden Zone.
The painting of Taniya Vaidya is being dissected alongside the mechanically liquid surfaces of Wally Dion. Both artists listen intently as their mediums and surfaces react to each other. Vaidaya’s ink patterns bleed into fabric an organic logic of its own. A fact which she credits to the fabric graciously, with a smile. Meanwhile, Dion is interested abstracting his own direct contribution so much that he’s recently begun experimenting with simple machines, which he hopes, one day, produce their own signature forms.
All of the artists in the show push their subjects through an array of displays to produce entire systems of image making. They document these systems and display them in their studios to visually quantify and further prove their methods. The paintings and video of J.J. Frioux, illustrate how subjects such as landscape and identity can be mutated by such a process. As you exit, the wooden space created for Doug Burns displays the byproducts of experiments. Burns practices spontaneous collage and improvisation while restricting himself to a very limited palette of materials. He is waiting for a mythology to emerge.
What does emerge from Two become One are distinct patterns of process and material. “In an emergent system complexity can arise out of a multiplicity of relatively simple interactions.”
Two becomes One was curated by Wayfarers’ board members Joshua R. Edwards and Jesse James Arnold. Special thanks to Zach Seeger, whose breakfast burritos changed our lives.
Monday, July 2nd, 2012Scenic Routes at Molloy College
Sunday, July 1st, 2012Exhibition Photos
Sunday, April 29th, 2012Spring 2012 Midterm
Sunday, January 29th, 2012Google Project
Tuesday, January 3rd, 2012Two figures: Outer space, Fire, Cotton Candy,
Tuesday, January 3rd, 2012Two figures: Tequila Sunrise, Blood work, Asphalt
Tuesday, January 3rd, 2012My thoughts on CMYK…
Tuesday, January 3rd, 2012Screen Prints!!!
Saturday, November 26th, 2011Midterms…
Saturday, November 26th, 2011Midterms…
Sunday, April 3rd, 2011Brace yourself
Thursday, March 10th, 2011the odd couple
Thursday, March 10th, 2011more collage…
Thursday, March 10th, 2011Collage…
Thursday, March 10th, 2011Street life, 16″ x 16″, mixed media, collage on paper, 2011
Thursday, March 10th, 2011Works in progress… Some where in space
Tuesday, February 15th, 2011Growth, 48″ x 50″, acrylic, gouache and pencil on paper, 2011
Tuesday, February 15th, 2011Through blinds and shades, 50 x 48″, mixed media on paper, 2011
Tuesday, February 15th, 2011Over my head, 12″ x 12″, gouache on paper, 2011
Tuesday, February 15th, 2011The fortress, 12″ x 11″, gouache and pencil on paper, 2011
Tuesday, February 15th, 2011Entranceway, 12″ x 12″, gouache on paper, 2011
Monday, January 10th, 2011If I had it my way, 16″ x 16″, oil on canvas, 2010
Monday, January 10th, 2011compartmentalize, oil on canvas, 16×16″, 2010
Monday, January 10th, 2011The balancing game, 64″ x 64″, oil on canvas, 2010
Monday, January 10th, 2011in-betweens, 14″ x 14″, oil on canvas, 2010
Monday, January 10th, 2011Conglomerate (symbiosis), 66″ x 66″, oil on canvas, 2010
Monday, January 10th, 2011Rainy day parade, 64″ x 64″, oil on canvas, 2010
Saturday, October 30th, 2010The Unavoidable
Tuesday, October 26th, 2010Carry Your Own Weight, stop-motion animation, 2010
Thursday, September 9th, 2010Suburban Garden
Tuesday, September 7th, 2010To the Suburbs of New York…..
Wednesday, August 25th, 2010Living Together (three-part separation), 64″ x 64″, oil on canvas, 2010
Wednesday, August 25th, 2010untitled, 16 x 16 “, oil on canvas, 2010
Friday, August 20th, 2010From the Mountains of the Adirondacks….
Saturday, July 10th, 2010blinds and shades, 12″ x 16″, oil on canvas, 2010
Tuesday, March 2nd, 2010Who But…. A Recent Exhibition at The Sweatshop
Check out this interview with curators Lauren Comito and Dorian Dean interviewing the artist, C.W. Brooks. (click on the link below)
Tuesday, March 2nd, 2010Going through the motions, 66 x 66″, oil on canvas, 2010
Tuesday, March 2nd, 2010Sphere of Influence, 66 x 66″, oil on canvas, 2010
Friday, January 15th, 2010Opening this Saturday: Things We’ve Made Since September
Monday, December 7th, 2009Mirror Image, acrylic and oil on canvas, 5.5×6′, 2010
Thursday, December 3rd, 2009Material Impact
Saturday, November 14th, 2009Meet me halfway (boiling point), oil on canvas 66×66″, 2010
Wednesday, November 11th, 2009Carry Your Own Weight
Wednesday, November 11th, 2009Upcoming Show
I have a show coming up in December! The stop-motion animation piece above will be shown at University of Delaware’s Gallery at the Crane (UD Crane). Check back later for details. The opening reception will be on December 10th.
Tuesday, November 10th, 2009Shear Viscosity, oil on canvas, 66×66″, 2010
Monday, November 9th, 2009symbiosis, oil on canvas, 66×66″, 2010
Monday, November 9th, 2009cloud, oil on canvas, 16×16″, 2010
Monday, November 9th, 2009go between, oil on canvas, 16×16″, 2009
Monday, November 9th, 2009block by block, oil on canvas, 66×66″, 2009
Saturday, November 7th, 2009Things lost in translation, mixed media, 48 x 45″, 2009
Friday, November 6th, 2009veil, ink on paper, 48×42″, 2009
Thursday, November 5th, 2009Permeable, mixed media, 46×50″, 2009
Thursday, November 5th, 2009The divide, ink on paper, 20×18″, 2009
Wednesday, November 4th, 2009Lucid, mixed media, 48×50″, 2009
Wednesday, November 4th, 2009Congeal, mixed media, 45×50″, 2009
Tuesday, November 3rd, 2009the go between, mixed media on paper, 48×50″, 2008
Monday, November 2nd, 2009outside-in, mixed medium, 48×50″, 2008
Monday, November 2nd, 2009inside-out, mixed media on paper, 48×50″, 2008
Friday, October 16th, 2009Philadelphia Vignettes
Friday, October 16th, 2009Recent Stop-Motion Animations
Friday, October 16th, 2009blinds and shades, oil on canvas, 20×16″, 2009
Friday, October 16th, 2009viscous, oil on canvas, 18×18″, 2009
Friday, October 16th, 2009a greater distance (dots and loops), oil on canvas, 18×18″, 2009
Monday, October 12th, 2009just like t.v, oil on canvas, 10×14″, 2007
Monday, October 12th, 2009Opened Ground, mixed media 48×50″
Monday, October 12th, 2009Almost, oil of canvas, 24×24″, 2009
Wednesday, October 7th, 2009vestibule, oil on canvas, 22×18″ , 2009
Wednesday, October 7th, 2009Perpetual motion, crayon and ink on paper, 11×7′, 2009
Monday, October 5th, 2009The Sweatshop: Labors of Love
The Sweatshop: Nick Balko, Megan Bartley-Matthews, Lauren Comito, Gabrielle Lavin, Melissa Nannen, Anthony Vega
Our gallery space is up and running! Take note of the crown modeling and our big pink door in “blushing piglet.” This is the first of seven shows to be exhibited in the next year. Each member of the Sweatshop will get a chance to curate a show in this space. Be sure to check back for upcoming events!
Friday, October 2nd, 2009Tour Studios East of Broad Street this Weekend!
My studio is participating in POST (Philadelphia Open Studio Tours). This free opened tour runs this weekend, October 3rd and 4th from 12:00 to 6:00pm. The studio is called The Sweatshop, which is located in the Richmond Mills building in Port Richmond. The address is 3237 Amber St, Philadelphia. My studio is located on the 4th floor of the South Building (look for the big pink door). This is a really terrific building that is home to many local artists. Come visit us and our brand new gallery space!
Friday, October 2nd, 2009The Trends of City Sprawl: A Site Specific Installation
by: Lauren Comito & Megan Bartley-Matthews
September 4th to October 31st, 2009
University Arts League, 4226 Spruce St., Philadelphia, PA
Open to the Public: Mon to Thurs from 12-8pm, Fri from 12-7pm, Sat & Sun by appointment only. Contact 215-382-7811 or firstname.lastname@example.org
The Trends of City Sprawl is an on-going and interactive work between 2 members of The Sweatshop, an artist community space in Port Richmond. This onsite installation is in conjunction with POST and The Fringe Festival. This piece is made out of an intricate web of recycled fabric scraps that have been accumulated over the last year. The networking of fabric clings to the architecture like an invasive vine, thriving on the infrastructure of the building. Everyone is encouraged to bring someone of his or her own to add to the piece.