• We are so proud and excited to host Diana Al-Hadid at Wayfarers on Sunday, October 5th. She'll be giving a talk about her work and answering questions. Talk starts at 5:00 and will be followed immediately after by a reception for our exhibition of works by Scott Saunders.
  • Scott Saunders: Integument 
    October 5th - November 2nd.
    Opening Reception: Sunday, October 5th, 6:00pm
     
    in-teg-u-ment
    \in-ˈte-gyə-mənt\
    noun
    :  something that covers or encloses; especially :  an enveloping layer (as a skin, membrane, or cuticle) of an organism or one of its parts
     
    This fall, Wayfarers is pleased to present Integument, an epistemological body of work by Scott Saunders that investigates how we construct knowledge about the world around us. Stemming from the Latin word for “a covering,” an integument serves multiple purposes: it shelters whatever it covers, it acts as a barrier to external elements, and it holds things in place inside. It is protection, in a way, against whatever lies beyond its veil, and it defines the things it envelopes by separating them from what they are not.
     
    Similarly, we identify and classify our world through processes of separation, drawing lines between nature and machine, male and female, self and other, and mind and body, among others. These divides help us to make sense of the world, since, like an integument, they provide definition by erecting boundaries. As useful as these dichotomies are, however, they are also problematic, and invite more questions than they answer about how we know what we know. For example, where are the lines that divide these notions? Are those lines real? Do they blur together, or exist one inside another? Is the separation just in our mind? How is it that our mind is simultaneously separate from yet connected to the things it thinks about? Where do the mental and physical realms meet?
     
    In Integument, Saunders’s finely crafted sculptures combine landscape and organic forms with abstracted, machine-like structures made from metal and plastic. By bringing together these diametrically opposed materials and forms, the artist mines such traditional divides as machine and nature for new meaning, and draws attentions to connections that might have been overlooked before. Viewers are encouraged in the process to re-examine their own beliefs about how they know what they know, and to ask where that knowledge originated.
     
    As Saunders states, “I use my art making as a way of thinking about these subjects. I don't seek answers so much as the pleasure of exploring the questions. In the studio, each piece of each work is crafted in response to the original inquiry, to continue the thought process and to make manifest some object of the question. My specific reasoning and symbolism may not be readily apparent, but I hope that the viewer will create their own explanations for the parts of each piece coming together, the relationships between them, the connections they make, and the tensions they hold.”
     
    Scott Saunders is a sculptor living and working in Austin, Texas. He received his MFA from Wichita State University in Kansas, and his BFA from Virginia Commonwealth University. He lived in New Orleans, Louisiana for 10 years before moving to Austin in 2008.
  • Regarding TOBY (Wayfarers' Project Wall): 
     
    Noa Leshem-Gradus: Self-Portrait
     
    This fall, Wayfarers is pleased to present Self-Portrait, a new site-responsive installation by Noa Leshem-Gradus. Comprised of two live-feed cameras placed in different parts of the gallery, plus an extended video of Leshem-Gradus’s 2011 sound piece, Shut-up honey (Protect Yourself), in which the artist played automated MTA announcements in Washington Square Park, Self-Portrait investigates issues of space, control, surveillance and privacy in the digital age. As one camera overlooksWayfarers’ front exhibition gallery, another camera is trained on Wayfarers’ multipurpose project space, and the feeds from both stream to this latter shared space so that viewers can alternately look at themselves or surreptitiously watch other visitors in the gallery.
     
    In the present era of the NSA, Edward Snowden, Google Glass, the Cloud, Facebook, drones and the Patriot Act, the division between public and private is an increasingly contested space. More and more in this surveillance state, the contents of our lives are being accessed, scrutinized and recorded both with and without our permission, making how we present ourselves, how we view others, how others see us and how we perceive our place in our surroundings some of today’s most salient concerns. In Self-Portrait, Leshem-Gradus has created a space in which the mechanics of surveillance are laid bare, prompting us to confront our roles as performers, voyeurs and victims and to address the feelings of lust, shame, titillation and fear that accompany watching someone or being watched by someone else on camera. Turning the video camera, TV and phone, or the tools of our mediated reality, back on themselves, Leshem-Gradus transforms Wayfarers’ project space—a room of hazy boundaries and shifting purposes, a room that we might otherwise fail to notice—into a hyperaware environment where we are cognizant of existing in that exact time and place and in the presence of other people who may or may not be watching us as we watch them.
     
    Discussing her interests in phenomenology and the politics of space, the artist says, “Since the meaning of space derives for each of us from our individual experiences, it would seem that our experiences are utterly private. Yet space is also experienced collectively. I focus on the visual, as well as sound, smell, temperature and memory. As Maurice Merleau-Ponty explained in Phenomenology of Perception, ‘synaesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the center of gravity of experience, so that we have unlearned how to see, hear, and generally speaking feel....’ I also consider how our use of language and our design of space reinforce dominant ideologies relating to ideas of good and bad, and success and happiness, and how the same factors that reinforce dominant societal norms may also lend themselves to the alienation of the individual from society and its norms.”
     
    Noa Leshem-Gradus lives and works in Brooklyn, NY. Born in New York and raised in Tel-Aviv, Leshem-Gradus has earned degrees from the School of Visual Arts (SVA) in New York and the Universität der Künste in Berlin. Her work has been exhibited in New York, Miami, Berlin and Tel-Aviv, and in shows at the Brooklyn Museum, PooL Art Fair, Verge Art Fair, Family Business Gallery and more. She is currently enrolled in SVA’s MA program Critical Theory and the Arts.
  • jesse james arnold (in the ether) 15
  • Wayfarers is a Brooklyn-based studio program that offers qualifying members private studios, access to a woodshop and a solo-show (or the option to curate a show) in the on-site gallery. 

    There is room for 10-20 members at Wayfarers, and the goal is to keep membership as cheap as possible so we can hand pick really good people making really good work.  We’re hoping to develop a small community of makers who will champion each other and kick each others’ asses.
  • Wayfarers presents 10-12 exhibits a year. They are a combination of curated projects, solo shows by former artists in residence and group shows. All exhibits are free and open to the public 1 pm - 5 pm on Sundays, by appointment or by chance.
  • In addition to shows, Wayfarers also hosts regular critiques, drawing parties, group shows, live music, experimental performances, puppetry projects, readings, video screenings, skillshares and other inventive events.