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Katherine Jackson
Katherine Jackson, Little Oil_Vitrine 2, 2019, Glass, Steel, Wood, Plexi, LEDs

2019

Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
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About the Item

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end in itself. But often the images are sandblasted onto glass panels, lit along the edge by LED strips, and displayed in steel frames or stands, or suspended. The images themselves are composed of her drawings: lines (of poetry, of scientific inquiry, of thought, of gestures), broken into dots or pulses. When the LEDs shine through the etched panels, the dots glow, forming multiple light-paths, making vivid the mind’s search for ways through, and the shifting perspectives that haunt our “readings” of the world. Recently, Jackson has been working with glass and light in other ways; for example, casting the shapes of miniature oil cans, in all their variety, in colorful glass and setting them, singly or in small groupings, on light boxes. This project, Little Oil, is a collection of over fifty cast glass oil cans, each unique in color and/or shape, set on light boxes. For “Illuminated,” Jackson will place her sculptures in custom-made vitrines. The glowing vessels provide a space of reflection where one can make innumerable associations in their minds. As the title suggests, Little Oil embodies, first and foremost, a comment on Big Oil, by suggesting the infinitely more modest application of fossil fuel to lubricate engines parts, tools, rusty hinges, sewing machines, etc. By installing these objects atop light boxes, where each one glows from within, these pieces can seem more like vessels of light themselves. Oils of various kinds were the preferred source of light for most of human history, as well as of eternal light in many faith traditions. Oil is derived from myriad sources, some of which Jackson finds unacceptable (animals), some benign (plants, nuts, etc.), and is used for myriad purposes besides providing light: cooking, healing, soothing, as aromatic essences, etc. The more one looks at these pieces, the more they seem to transcend oil altogether and take on animate, creaturely, or even anthropomorphic qualities -- with their various shapes and sizes, and spouts going this way and that. Katherine Jackson lives and works in Brooklyn. Her work has been widely exhibited in galleries, universities, and public spaces in New York City, multiple other US venues, Rome and Berlin. Jackson’s work has been featured in numerous exhibitions focusing on art and technology and art & light. She has had solo exhibtions at Bennington College, and Hobart & William Smith Colleges. Her large-scale installations have been placed in various public spaces in Manhattan and include a commissioned sculpture at Interface, the Mid-Manhattan Library, the windows of the NY Tenement Museum; as well as a multi-windows exhibit in celebration of the 100th anniversary of the Manhattan Bridge. Jackson’s work has been featured in numerous arts journals. Her drawings can be found on the covers and within numerous books of poetry.

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Katherine Jackson, Little Oil Seeing Red, 2020, Glass Wood Steel, Plexi, LED
By Katherine Jackson
Located in Darien, CT
There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category

2010s Conceptual Still-life Sculptures

Materials

Glass, LED Light, Pigment

Katherine Jackson, Little Oil Seeing Red, 2020, Glass Wood Steel, Plexi, LED
By Katherine Jackson
Located in Darien, CT
There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Two of the oil can sculptures depicted here are sold. Please contact the gallery for specific prices on individual prices and smaller light boxes sold with the sculptures. Prices range from $675 - $2050 including a small lightbox for individual sculptures. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category

2010s Conceptual Still-life Sculptures

Materials

Glass, LED Light, Pigment

Katherine Jackson, Little Oil 19, 2020, Photograph on aluminum
By Katherine Jackson
Located in Darien, CT
There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Little Oil 19 is a digital photographic print on aluminum for the flat files. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...
Category

2010s Conceptual Still-life Sculptures

Materials

Glass, LED Light, Pigment

Jo Yarrington, Orchestrations, 2016, Found Objects, Plexiglass
By Jo Yarrington
Located in Darien, CT
The installation, Orchestrations, explores the vernacular in vintage piano roles. The physical perforations in the piano roll paper, coded notations for sound, act as a vehicle for l...
Category

2010s Post-Minimalist Abstract Sculptures

Materials

Plexiglass, Found Objects

Jo Yarrington, Mute-Ability_Composition 4, 2019_acrylic, steel, player piano rol
By Jo Yarrington
Located in Darien, CT
Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...
Category

2010s Conceptual Abstract Sculptures

Materials

Steel

Margaret Roleke, Religious Toys, 2016, children's toys, spray enamel, wood
By Margaret Roleke
Located in Darien, CT
In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...
Category

21st Century and Contemporary Pop Art Figurative Sculptures

Materials

Enamel

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