Dell, 2019, Jasmine Murrell

The Unknown One

Jasmine Murrell

Opening Reception: February 5, 2020 |6 – 8 pm
Exhibition Dates: February 5 – March 14, 2020
Coffee Talks: February 6 & 13, 2020 | 4 – 5pm
Conversation: with Curator/Executive Director of No Longer Empty
Christine Licata | Thursday, February 20th, 2020 | 6-8pm

Baxter St at the Camera Club of New York is pleased to present The Unknown One (Reimagining the singular as a collection of One) by 2019 Workspace Resident Jasmine Murrell, opening February 5, 2020, and on view through March 14, 2020. This exhibition, comprised of new photographic and photo-sculptural works, explores representation, oral tradition, and the expression of strength through portraiture.

In The Unknown One (Reimaging the singular as a collection of One) artist Jasmine Murrell pays homage to the oldest members of her community. Murrell reframes the traditional portrait using video, photography, printmaking, and sculpture, to present a more inclusive alternative to the classic/postmodern nude figure in contemporary art. Murrell draws from an eclectic range of aesthetic and theoretical influences ranging from abstraction, feminism, post-colonialism, indigenous artisans, Afro-Futurism, Négritude, magic realism, Dadaism, the Detroit avant garde theater, science fiction, and musical pieces such as those by visionary jazz composer Sun Ra.

The exhibition features wall mounted sculptures created through layering photographs of the female body (placed on a variety of substrates including canvas, paper, wood, and fabric) with found objects, and marking their surfaces with silkscreen and paint. The subjects of the photographs are women adorned in headdresses sculpted by Murrell. She describes the headdress as a method of psychological transformation, and the women as being connected through a larger consciousness in their ability to work against adversity.

Jasmine Murrell transforms the female body as something beyond its surface. Her bodies are marked with time, experience, story, and beauty. She asks her audience to assimilate the disparate parts she has presented, and the result is a singular goddess that engages various conversations around the body, expressions of power, and the importance of oral traditions in art.

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Scarface, Aaron’s Room, Los Angeles 2018 US, Fryd Frydendahl

ROOMS NEEDED: Sentimental Rooms

Fryd Frydendahl
Curated by Michi Jigarjian

Exhibition Dates: November 20 – February 15, 2020

Baxter St at the CCNY is pleased to announce ROOMS NEEDED: Sentimental Rooms, work by Fryd Frydendahl. The work is curated by Michi Jigarjian and on view November 20, 2019 – February 15, 2020, in our Project Space at 128 Baxter Street.

The exhibition features a display case of research materials and eight photographic prints from a larger in-progress project titled Sentimental Rooms. It is an exploration of teenage bedrooms left partly untouched by the parents many years after their teenager moved out. 

The first photograph for the series was done in 2015 when Frydendahl was invited to Thanksgiving Dinner in New Jersey at the home of a friend’s mother. She spent the night in her friend’s brother’s childhood bedroom. “I felt like I was in a time warp. It took me back to often complicated feelings around coming of age, while at the same time, being overwhelmed by a strange sentimentality that was difficult to place. I began looking for these preserved rooms to photograph.”

Once a place to assert boundaries on their journey towards autonomous adulthood, the rooms and subjects represent a place of self-expression with a blip of nostalgia. Cluttered with memorabilia—a faded Led Zeppelin towel across an unmade bed, a recumbent E.T. toy propped up on a dusty sideboard, curled and faded pictures from a high school class trip to Egypt, Frydendahl captures a time capsule of temporal, cultural relevance. 

Vacant yet preserved, these teenage bedrooms can hold lasting importance to the departed adolescence. For most, this space marks a place of security and privacy. It also marks independence as teens go to their bedrooms to individuate from the family through acts of defiance, explore their changing bodies, and express themselves aesthetically. Fryd Frydendahl takes us on a melancholic trip to the museum of an older version of the self. 

Frydendahl is currently searching for rooms, and any leads are welcomed.

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