JULY 9 – SEPTEMBER 30, 2020
Liz Deschenes and Alan Ruiz
F is pleased to announce the opening of REAL ESTATE, a group exhibition in the living room of our home in Houston, TX. The exhibition will be on view through the end of September by appointment.
Conceived as an extension of F Magazine issue 10: REAL ESTATE (April 2020), this exhibition presents a constellation of interpenetrating ideas that explore aspects of real estate, variously: architectural, agricultural, political, poetic, performative, spiritual, sexual. The cosmology that this exhibition presents is vast yet riddled with specificity. The artworks collected are constructed in methods derived from the artists’ investigative approaches and a shared embrace, perhaps, of realism. Each work is like a pin on a map, fragments of the artists’ areas of study; to chart a path from one to the next is to map this cosmos.
F issue 10: REAL ESTATE is the last issue of the magazine in print and marks the end of the first cycle that began in 2014. This exhibition coincides with a broadening of the scope of the F project, not simply to that of an exhibition space, but as an exploding of the magazine into a multifaceted forum that will include multiple forms of publishing, exhibitions, and art-making. The F PDF series launches later this month with an essay by Steel Stillman.
Works on View
My Omen to Move to West Texas
Inkjet print, glass, antique mirror brackets
9.75 x 10 inches
New National Park in Manacacias, Colombia
Ink, pencil, acrylic on paper and canvas in artist frame
10 x 12.5 inches
Reconstructing a Public Sphere
PowerPoint, 263 slides
One-way mirrored glass
29.75 x 5 inches
Lynne Stewart, sentencing, October 16, 2006
Pencil and ink on paper
8 x 12 inches
Omar Abdel-Rahman, press conference, April 6, 1993
Pencil and ink on paper
8 x 12 inches
Liz Deschenes / Alan Ruiz
Silver gelatin photogram mounted on Dibond, aluminum;
steel, hardware, existing architecture
96 x 6.25 x 4 inches overall
Oil on linen
36 x 24 inches
We Move Thank God
Purchased elephant sculpture with padlock and metal chain, plywood crate, Ethafoam
54.5 x 44 x 21 inches
Land for Sale
Ballpoint pen and pencil on paper
11 x 8.5 inches
Graphite on paper
24 x 18 inches
Watering cans, aluminum, trolley locks, wire
20 x 20 x 20 inches
Nick Angelo (b. Los Angeles, 1990) is an artist based in Los Angeles. He holds a BA in Urban Studies from Eugene Lang College at the New School in New York and an MFA in Photography and Media from California Institute of the Arts. His work engages spaces and sites as representative means of realizing, analyzing, and critiquing power structures alternative to mainstream understandings, namely through the subjective lens of his personal history struggling with drug addiction. Recent group exhibitions include The Conspiracy of Art: Part II, Chateau Shatto, and Future Ghosts, Human Resources, both Los Angeles.
Vanessa Conte (b. Yonkers, NY 1977) lives in Glendale, CA. Most recently, she has exhibited in group shows at the Philara Collection, Düsseldorf; the Kunstverein Harburger Banhof, Hamburg; and WallRiss, Fribourg, Switzerland. She has had solo shows in New York, Los Angeles, and Düsseldorf. She has published two books of erotic BDSM-themed short stories, Cures for Pouting Girls (HESTER, New York, 2016) and Heavy Penalties (Random Man Editions, 2018). Conte is represented by Ginerva Gambino, Cologne.
Liz Deschenes (b. Boston, 1966) is an artist who uses photographic processes to reflect upon and push the bounds of the medium itself. She uses durational photogramatic exposure to create unique, shifting surfaces that function as sculptural or architectural objects, while often making precise reference to their institutional site as well as the history of imaging technologies. Deschenes was the recipient of the 2014 Rappaport Prize and one-person exhibitions of her work have taken place at ICA/Boston, MASS MoCA, the Walker Art Center, Secession (Vienna), Miguel Abreu Gallery, and Campoli Presti, among others. Her work has also appeared in group exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, the Centre Pompidou, Musee d’Art Moderne, the Metropolitan Museum of Art, the Art Institute of Chicago, the International Center for Photography, the Hessel Museum of Art, and the Pinault Collection –Punta della Dogana in Venice. She teaches at Bennington College and is a visiting artist at Columbia University’s School of Visual Arts and Yale University.
Jamie Fletcher (b. Big Spring, TX 1986) lives and works in Red Rock, TX. She received her BFA from The School of the Art Institute of Chicago in 2012. Working across mediums, including photography, painting, video, and sculpture, Fletcher makes figure studies of power play, exploring the limits of human affection and vulnerability.
Blair Hansen (b. New York City, 1979) worked in the art world for fifteen years before starting the glassware design and production house Asp & Hand with her husband, artist Elias Hansen, in 2017. She lives and works in beautiful Bellingham, WA, with Eli, her two daughters, and several animals.
Miles Huston (b. Cambridge, MA 1981) is an artist, designer, and writer living in Jersey City. He holds an MFA from Yale University with a diploma from SMFA/MIT. He is a member of the architectural collective City-group, The Gyorgy Kepes Panel Committee, and a contributing writer at F Magazine, Maharam Projects, and CANactions Magazine. He was a cofounder of the Brooklyn artist space Know More Games and an interior designer for the perfumer Frederic Malle. Huston is represented by Gordon Robichaux, New York.
Matt Kenny (b. Kansas City, MO 1979) is an artist and writer living in New York. He has exhibited his work in numerous solo and group shows in New York, Rome, Toronto, and Copenhagen. His solo show of paintings depicting the WTC monster High-Rise was shown at F in 2019. An excerpt of Coercive Beliefs (2017), his 300 page epic-poem detailing the birth of Al-Qaeda, was featured earlier this month on the Moran Moran Gallery website, along with several ink drawings illustrating key moments from the narrative. Kenny is currently working on the follow-up book.
Haley Mellin (b. San Francisco, 1979) focuses on issues of permanence and artifact in land conservation and in painting. Mellin completed a BA at UC Berkeley in 2004 and a PhD at New York University in Visual Culture and Education in 2012. Her work has been featured at venues including Museum Dhondt-Dhaenens, Deurle, Belgium; MoMA Ps1, Queens; Bischoff Projects, Frankfurt, Germany; the Basilica in Hudson, NY; Zabludowicz Collection, London; and Museo Pino Pascali, Polignano a Mare, Italy. Mellin founded Art for Acres, an initiative that connects artwork and art institutions with permanent large-scale land conservation for climate and biodiversity purposes. The organization has supported the conservation of millions of acres of tropical forest and habitat. The most recent engagement was a piece by Jenny Holzer, ALL THINGS ARE DELICATELY INTERCONNECTED, for Earth Day 2020, supported by Hauser & Wirth Gallery. Mellin lives and works in Fairfax, California.
John Miller (b. Cleveland, OH 1954) is an artist, writer, and musician based in New York and Berlin. His most recent book is Mike Kelley: Educational Complex published by Afterall Books in 2015. The Schinkel Pavilion in Berlin is currently holding a retrospective exhibition of his work titled, An Elixir of Immortality. In 2018, the 33rd Bienal de São Paulo featured his work as well. Miller is a Professor of Professional Practice in Barnard College’s Art History Department.
Phoebe Nesgos (b. Boston, 1993) received a BFA in Painting from Rhode Island School of Design (2015). Her recent group exhibitions include Phantom Folly (2020) at Bianca D’Alessandro, Copenhagen; Thirst for Love (2019) at Lomex, New York; and Foul Perfection (2019) at Neue Alte Brücke, Frankfurt. She has also shown at Ed Varie in New York, Barrister’s Gallery in New Orleans, and was featured alongside her peers in Spike Art Magazine online.
Tuomas Korpijaakko (b. Princeton, NJ 1976) and Pierre Le Hors (b St Malo, France 1981) started collaborating in 2010 as NOWORK by distributing a series of self-published, anonymous booklets that recirculated ubiquitous images taken or found in public spaces around New York. Since 2014 they have embraced more varied forms of reproduction, using facsimiles, correspondence, and forged or re-staged artworks to trace recurring, overlapping narratives tied to biography, accident, artistic visibility, and failure. These concerns play out in sculptural installations that rely on the shifting viewpoints of multiple narrators to map a set of relations over time.
Heather Rowe (b. New Haven, CT) is a New York-based artist who received her MFA from Columbia University. She has exhibited in numerous museums and galleries including MoMA PS1, Queens; the Indianapolis Museum of Art, Indianapolis, IN; the Contemporary Arts Center, Cincinnati, OH; University of Michigan Museum of Art, Ann Arbor, MI; Galerie Zink, Berlin, Germany; Michael Benevento Gallery, Los Angeles; Ballroom Marfa, TX; and D’Amelio Terras, Andrea Rosen, White Columns, Artists Space, and James Cohan Gallery, all New York. Her work was featured in the 2008 Whitney Biennial. Recent exhibitions include Performing the Grid, Otis College of Art and Design, Los Angeles (2016); Third Girl, Lucien Terras, New York (2016); and the two-person show with Kate Gilmore Only in Your Way, DiverseWorks, Houston (2017). In 2020 Rowe exhibited in a two-person show titled Construction House for the year-long series Beyond Bauhaus at the Providence College Galleries. Her work has been featured in numerous publications such as Artforum, Modern Painters, The New York Times, Art in America, The New Yorker, Flash Art, and Art Review.
Alan Ruiz (b. Mexico City, 1984) is an artist whose practice engages the protocols that shape and condition space through economic, aesthetic, and social systems. His work has been exhibited at the Queens Museum, The Storefront for Art & Architecture, TG, Nottingham, Callicoon Fine Arts, and the Bronx Museum of the Arts, among others. His writing has been published in Archinect, ED, TDR, BOMB Magazine, InVisible Culture, and Women & Performance: a journal of feminist theory. He is the guest editor of “Spatial Practice,” a special issue of Movement Research Performance Journal (July 2020). In 2019 he received a Creative Capital Award for his project, Spatial Alchemy. He earned an MFA from Yale University and was a fellow in the Whitney Independent Study Program. He currently teaches at Pratt Institute and in the department of Visual Studies at Eugene Lang, The New School.
4225 Gibson Street
Houston TX 77007
For more information, please contact
Adam Marnie at email@example.com