Frames of Reference

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The Granoff Interventions

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"Frames of Reference"

Curated by Belle Cushing and Artemis Stamatiadis
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Curatorial Statement

Nothing signifies the intention of ‘art’ more than a frame. Understood simultaneously as a familiar object of artistic presentation, and as a space within which art occurs, the frame acts to define, discern, and delineate the display. An attempt to make attainable a certain ungraspable essence, it serves as a mediator between work and viewer. Beyond acting as a border that encloses the work, the frame grants a certain freedom to the artist. It creates a base in, on, and outside of which the artist can create. More than a physical space, it becomes a mental construction. Frames are ubiquitous as a means by which to categorize and understand, creating an order that can then be reinforced, redefined, or broken by the artist. Through new works that engage the frame, not as an afterthought or necessity, but as an integral part of each work, “Frames of Reference” questions the authority of the frame as a limitation, while exploring its dynamic potential for liberation.

Works Exhibited

One and three frames.
After Joseph Kosuth

Originally exhibited in 1965 as One and three chairs, Kosuth’s conceptual piece included a chair, a dictionary definition of ‘chair’, and a photograph of the same chair. The work traveled to different spaces with instructions for the curator on selecting a chair and assembling the work, resulting in the same work composed of different components each time. The message was the same: a questioning of signifier and signified. In this reproduction, it is the identity of the frame, the ultimate signifier, that is called into question.

Cecilia Salama. Second fig.
In a mix of organic and industrial materials, Salama’s work defies containment in a 2-D rectangular plane. A scrap of baseboard along the edge calls to mind the beginnings of a frame attempting to surround the image, but the notion of a broken border is left unfinished, a violation and re-appropriation of the frame.

Cecilia Salama. A loud first taste.
Salama’s easel-like steel structure frames a negative space, thrown off its axis, invaded through the center. The frame is brought into 3-D abstraction in a questioning of its stability. As you walk around it, the framed image is constantly changing, creating a dynamic, subjective frame.

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Lamia Veerasamy. Colonial home.
Veerasamy’s recreates multiple frames within the image, evoking the authoritative structures of a colonial past in her home island of Mauritius. These frames are transgressed by dripping paint and chaotic forms, as old structures are broken and new ones are formed.

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Elizabeth Cushing. Canvases.
Cushing’s watercolors, rather than being confined within a frame, recast the frame as the artwork itself. By leaving the enframed space in the center blank, the viewer is invited to insert a personal interpretation, or accept the void as the subject.

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The process through pictures:

Unable to render embedded object: File (φωτογραφία(4).JPG) not found. Meeting with artist Lamia Veerasamy. Unable to render embedded object: File (φωτογραφία(15).JPG) not found. Works of Lamia Veerasamy

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Setting up:

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