Time Equities, Inc. Art-in-Buildings Program

Looking back to Victoria Manganiello’s exhibition, Altimeters, which was on view at 125 Maiden Lane in 2020. 🧶⭐️

Working predominantly in textiles, Victoria Manganiello’s work considers materiality, space, technology, and history. In her labor-intensive practice, Manganiello hand-spins yarn, hand-mixes natural and synthetic dyes, and uses a floor loom to create intricate woven sculptural installations and wall hangings. Her work reveals a meticulous process that echoes histories of textiles and weaving found in cultures around the world combined with contemporary technologies. For 125 Maiden Lane, Manganiello combined hanging wall works and free-standing, semi-opaque sculptural pieces. Staggered throughout the space, the sculptures invited the viewer to gaze through and walk around the work, seeing new patterns and layers when seen from different vantage points. Manganiello’s soft fabrics and warm colors contrast with the cold, hard marble of the lobby walls, drawing attention to the artist’s methodical craftsmanship.
——
Victoria Manganiello () is based in Brooklyn, NY. She holds an MA from New York University and a BA from Skidmore College.

Images: Victoria Manganiello, Altimeters, Installation shots, 2020.

OPENING TODAY AT 6:30 PM at 125 Maiden Lane: "Interference" by Charlotte Becket and "Rise of the [Machines] Plants" by Phaan Howng

Charlotte Becket's () kinetic sculptures explore the interplay of the analogue and digital world – using mechanical methods and physical materials to create surfaces that mimic what we find in electronic displays. For her installation in the atrium at 125 Maiden Lane, "Interference," Becket draws on the optical effect of moiré patterns that can be unintentionally produced in digital imagery, print, or video. This type of visual distortion occurs when two semitransparent, patterned layers are misaligned and pass over each other – the slight offset error creates an illusion of movement.

For Phaan Howng's (Phaan Howng]) latest installation, "Rise of the [Machines] Plants," she continues her exploration of the relationship between horticulture and the ecological conditions brought on by globalization and capitalism. On one side of the lobby at 125 Maiden Lane, brightly hand-painted wallpaper, paintings, and sculptures create a Victorian-style parlor that is overtaken by flora that has evolved to camouflage into its surroundings. Originally displayed at Dinner Gallery (Dinner Gallery]), the installation refers to the origins of the rare and exotic plant market that arose due to imperialism during the Victorian Era. Opposite the Victorian-style parlor, a hyper-abstracted neon rug serves as a toxic, unnatural landscape from which plants and flora grow as if they are adapting and evolving from an earth corrupted by chemicals and waste.

Image 1: Charlotte Becket, "Interference," 2023.
Image 2: Phaan Howng, "Rise of the [Machines] Plants," 2023.

Phaan Howng] Dinner Gallery] .ferreyros

Happy Friday! We're thinking of Chris Bogia's "The Sun, The City" as we head into sunnier weather.

Installed from March-October 2021 at 125 Maiden Lane, Chris describes it as "something accessible, visually generous, and above all optimistic...a large hand-made sun imbued with craft and nostalgic references to groovier times."

Be sure to check out Chris' latest exhibition, "Night in the Village," on view at Mrs. Gallery .____ until July 2nd.


.____

NOW ON VIEW at 125 Maiden Lane: "Hardness is Not the Absence of Emotion..." by Sarah Jimenez and "Ancestral Feet" by Jasmine Murrell

Sara Jimenez's ()newest installation abstracts architectures between New York City and the Philippines that have been influenced by the City Beautiful movement, an American urban-planning movement at the turn of the 20th century. The movement believed that beautiful design could inspire "moral and civic virtue," and eliminate "social ills." It heavily referenced architecture from Europe, particularly Beaux-Arts architecture, that was seen as rational, symmetrical, and ordered.

In the lobby of 125 Maiden Lane, Jasmine Murrell's () installation Ancestral Feet is a living memorial to the African enslaved peoples that were forced to build lower Manhattan and whose labor and lives were the price for the city's development. Murrell pays homage to the forgotten history of the neighborhood as a site of one of the largest slave markets in the United States, reclaiming the land through her installation and giving power to these unknown voices, she says "when you see Black people you are seeing the descendants of miracles."

Image 1: Sara Jimenez, "Hardness is Not the Absence of Emotion," 2022.
Image 2: Jasmine Murrell, "Ancestral Feet," 2022.

.ferreyros

It’s ! Today we’re celebrating Jasmine Murrell’s 2020 exhibition at the West 10th Window.

In Have you found what you're looking for?, Murrell () presented two upturned feet constructed from dirt, emerging heels up from a mound of soil. Gnarled branches protrude from the soles of each foot.

The partially buried feet evoke an upturned grave, while the extending branches hint at the possibility of renewed growth.

🌳🍃

Murrell's dirt installations consider the relationship between dirt as a signifier of uncleanliness and dirt as the foundation and sustainer of living, growing things. Her installation at the West 10th Window recreates the human form out of the earth and reconnects the human body with the natural world.

Learn more about the exhibition at the link in our bio.

Have you heard? We’re Hiring!

AiB seeks an organized self-starter looking to gain experience in managing an art collection and organizing exhibitions.

If this sounds like you, please see the full job description and application instructions at the link in our bio.

Deadline to apply is April 6. ⏱

NOW ON VIEW: yearning by Gyun Hur

Through her delicately composed installation and evocative performances, Gyun Hur () creates visual and emotional spaces that allow contemplation of loss and beauty. A continuation of her recent site-specific installations, “So we can be near” and “Enunciation of blessedness” yearning brings a poetic medley of local river water, glass, and hand-shredded silk flowers to the Art-in-Buildings Gallery space.
Using the gallery’s open windows as a mediator, the artist invites the audience to visually enter her wall and floor installation from the outside; a gesture of reaching out to something ungraspable in the distance. Inside the space, a vinyl rectangle on the floor depicts a dreamy haze of clouds, maps, and figures interacting with Detroit’s many bodies of water – a visual montage that traces the city’s ecological and social histories. A gathering of 36 hand-blown glass vessels in the shape of teardrops contain the very water the graphic references. Over the course of the year-long exhibition, the water in the vessels will evaporate and be refilled, echoing the inevitability of loss while also holding meaning for the regeneration of life
Learn more about this installation at the link in our bio. yearning will be on display in the Art-in-Buildings Gallery at Travelers Tower in Southfield Michigan until March, 2023.

Image: Gyun Hur, yearning, 2021. Courtesy the artist.
Photos by Danny Gurung.

Posted • .____ Meghan Brady’s ‘Faceness,’ a painting commissioned in 2021 for Time Equities Inc.’s Art in Buildings program.
📷: Meghan Brady
‘Faceness,’ 2021
Acrylic on Canvas
40 x 35 inches
101.6 x 88.9 cm

Texture Tuesday: Pastel Pigment from Margarethe Aanestad: Calm Glow at the West 10th Window Satellite Space, July 10th - August 28th, 2021.

Learn more at the ✨

Anyone else in need of a little motivation?

In 2015, for the first ever exhibition in the Art-in-Buildings Gallery at Travelers Towers, Brent Birnbaum exhibited “Untitled,” a sculpture composed of outdated- but still functional- treadmills, secured and accentuated with climbing rope, clamps, and electrical cords. A collector by nature, Birnbaum acquired the treadmills from Craigslist, directly from the people who wished to discard them.

The dated treadmills are relics of a capitalist dream in which purchasing a product holds the promise to transform's one life for the better. Presumably, these Craigslist sellers intended to get fit and healthy- only to have their equipment fall into disuse and decay. Birnbaum rescues these forgotten objects and gives them new life and new meaning as art.

What kind of forgotten objects inspire you? Tell us in the comments and tap the link in our bio for more information on this unforgettable show.

Happy Thursday, folks!

Todays is dedicated to “Limited Edition” by David Baskin, the 2019 exhibition at the West 10th Window. “Limited Edition” is part of Baskin's Vanitas Project, a series that uses art historical models to address contemporary consumerism.

Taking its name from the 17th century Dutch painting style, which traditionally presented still lifes laden with symbolic imagery alluding to death, Baskin's modernized Vanitas transmute the painted still life into three dimensional, chrome sculptures.

In contrast to the austerity of the Dutch vanitas, Baskin composed his modernized construction of primarily kitsch or ersatz chrome products that are ubiquitous in the retail landscape. The found objects in “Limited Edition” include a chrome toy car, trumpet, fake gr***de, dolphin corkscrew, and figurine of a pig with wings.

💀🐬🐷🪙

Learn more about this show at the link in our bio.

Is a thing? Can it be?

for some luscious detail shots of our previous installations. 🧶

Image 1: Detail shot of unraveled dyed canvas from “Hang Up” by Carolyn Salas, 2013. Exhibited at 125 Maiden Lane from August 1st, 2013 - January 7th, 2014. .salas

Image 2: Detail from “Stacked” by Nicole Cherubini. Exhibited at 55 5th Ave from October 8, 2020 - January 20, 2021.

Image 3: Detail of plaster sculpture from “Kali in her Arsenal at Twilight” by Lauren Clay. Exhibited at the West 10th Window from February 4th, 2017 - March 18th, 2017.

Image 4: Detail of “La Sala” by Priscilla Dobler Dzul from Americana, exhibited from January 24th, 2019 - September 20th, 2019.

Image 5: Detail from “Our Valence” by Kennedy Yanko, Lutfi Janania, and Zachary Tye Richardson. “Our Valence” was exhibited at the AiB Gallery at Travelers Tower in Southfield, Michigan from January 24, 2020 - December 31st, 2020.

Image 6: Detail of painted aluminum mesh from “Niche” by Julie Tremblay. Exhibited in “Against Nature” at 125 Maiden Lane from October 22nd, 2019 - March 31st, 2020.

In Julie Tremblay's exhibition “Against Nature” the artist presents and expands upon her installation Niche, in which the artist draws on the mathematical expression n+1, which articulates a process of adding incremental changes to a variable. Tremblay uses this expression to examine mutation as reflections on the patterns within chaotic structures.

Tremblay is known for her ethereal transformations of industrial materials into organic forms that are reminiscent of the patterns found at multiple scales throughout the universe – in plants, flowers, and nebulas.

🧬🌷🔬☁️

The title “Against Nature” considers the contemporary environmental crisis, and asks the viewer to reassess their relationship to the natural world. Tremblay's work emphasizes the interconnectivity of all things, and articulates a common ground between seemingly disparate objects. At base, all things are formed from simple structures and patterns. “Against Nature” is a reminder that we should not fight this connection, but embrace it.

Drop a line in the comments to tell us how you cope with chaos, and tap the link in our bio for more information on this 2019 exhibition.

“Assemble your tools in an orderly fashion near your car.

Be sure to have a pile of clean rags at your disposal.

Start by removing the battery to inactivate all systems.

Remove all fluids.”

This is an excerpt from “How to Turn Your Car Inside-Out” by Dan Devine. For , we’re looking back on our 2011 Exhibition “Inside Out” at 125 Maiden Lane. In this show, Devine’s inverted automobile sculptures occupied the bustling lobby of 125 ML.

Tap the for the full text!

🚗⚙️🚘
devine.studio

Valentine's Day has long been associated with the pinks and reds of the flowers many give and receive as tokens of love. Today we celebrate the signature colors of with the pinks and reds of “Unsurpassed and Unsurpassable '' a vertical sculpture by Sara Jimenez () composed of fabric and inkjet prints of 19th century photographs of the Philippines. This piece, like many in Jimenez’ practice, features an enticingly warm palette of red and pink.

“Unsurpassed and Unsurpassable” was featured in our 2018 exhibition Venus Occults Jupiter, at Love Apple Art Space in Ghent, NY. The exhibition's title refers to the 1818 occultation of the planet Jupiter to Venus; an extremely rare eclipse that occurs when one planet passes directly in front of another. The symbolism of the planet , named after the ancient Roman Goddess of crossing Jupiter, a gas giant named after the Roman King of all gods, prompts reflection on the values these mythologies embody.

Two hundred years after the astronomical event, Venus Occults Jupiter reflected on the importance of challenging conventional narratives and exploring empathy as a means to combat exclusionary histories.

Learn more about the show at the in our bio and follow for more on her incredible practice.

♥️💗❤️

If you've passed our office on 55 5th Avenue recently, you've likely caught a glimpse of “Ivory Towers Were Made By Somebody” by Damien Davis (). This interactive sculpture is the artists latest work to interrogate the invisible histories of urban environments.

Composed of six panels, the work draws its inspiration from traditional objects, symbols, and scenes native to a construction site such as gears, bolts, and hard hats. Davis' interest in mechanics is not limited to the literal but includes the unseen labor that fuels the grandeur of the urban landscape.

"The installation I am imagining is both an acknowledgement of the enslaved Africans, Native Americans and immigrants that built (and continue to rebuild) New York City, that still largely go unseen and unacknowledged." Davis says.

Come by our publicly accessible lobby to see the work or check out the link in our bio for photography of the piece by Marcie Revens. ()

“un-there” by Nooshin Rostami presents twin sculptures in the lobby of 125 Maiden Lane. The geometric works demonstrate the poetics of light in a masterful exploration of texture and reflection. Spawned from two identical rectangular steel plates, each sculpture rests on a mirrored base alongside its reversed image.

"The metaphorical instant of an object merging with its reflection is an invitation to turn one's gaze internally." Rostami explains, "a window of perception is unlocked to the viewer, where the solid structure shapes a unified whole with its inner image. A new entirety is born when one catches sight of what lies under."

Tap the link in our bio to learn more about “un-there” and it’s neighboring exhibition “On Earth as It Is in Heaven” by Alteronce Gumby.

IMAGES 1-4 “un-there” [circle] by Nooshin Rostami, 2021. Photo by Jack Hyler.
IMAGES 5-7 “un-there” [triange] by Nooshin Rostami, 2021. Photo by Jack Hyler.

Using sculpture and collage, Portable Landscape by MaryKate Maher's creates an imagined abstracted setting. In her ongoing titular series, Maher deconstructs landscapes into forms and planes, arranged in space so that they change as the viewer moves. She draws inspiration from locations affected by extreme climates, where colors are born from high acidity or levels of air pollution.
Portable Landscape evokes Giorgio de Chirico's metaphysical paintings by drawing on sharp contrasts between light and shadow, and Constantin Brancusi's Bird in Space through its emphasis on movement over objects. Merging the two and three dimensional planes, Maher plays with color, light, form, and movement to reconfigure the environment of the West 10th Window.

Learn more about this piece through the link in our bio!
Slide 1: Portable Landscape by MaryKate Maher ()
Slide 2: Giorgio de Chirico, The Uncertainty of the Poet, 1913. Image via
Slide 3: Constantin Brancusi, Bird in Space, 1932-40 by. Image via

"My temporary works reflect the transient nature of the world, humanity, and our place within nature." - Caoimhghin O Fraithile

Two Times Ten is a site-specific abstract structure by Caoimhghin O Fraithile (). O Fraithile created this architectural structure for the atrium of 125 Maiden Lane in the Spring of 2010.

The organically shaped and lusciously textured structures seem to drip into the atrium. This fluidity is not unlike the rain water dripping in New York today. 🌧☔️

Tap the link in our bio to learn more about this piece.

Happy new year from the Art-in-Buildings team.

As we look back on another eventful year, we want to thank all of the artists who have shared their practices with us and the incredible public that visit, contemplate, and experience the art we present. Cheers to another year of remarkable collaboration! 🥂

Special shoutout to the incredible artists we worked with this year. Thank you, from the bottom of our hearts:

Damien Davis
Nooshin Rostami
Alteronce Gumby
Chris Bogia
Jade Yumang
Laetitia Hussain
Paolo Arao
Shanti Grumbine
Tyrone Mitchell
Padma Rajendran
Ashley Garrett
Charlotte Becket
Noa Charuvi
Frances Goodma,
Rosie Mudge,
Carrie Schneider
Thu Kim Vu
Cheryl Yun
Adriene Elise Taraver
Margrethe Aanestad
Shoshana Dentz
Kevin Bongang
Hop & Svenson
Peep the link in our bio to see our FULL list of collaborators.

Images:
1) PHOTOSYNTHESIS by Arja Hop, Peter Svenson at 50 West
2) Margrethe Aanestad, Calm Glow, at the West 10th Window Satellite Space
3) Embrace by Kevin Bongang at 197 Foothills Mall Dr - Maryville, TN
4) Adrienne Elise Tarver: TERRA INCOGNITA at 55 5th Ave, HQ

LAST CHANCE TO SEE:

SOFT/LOUD- a group exhibition at the Travelers Towers Gallery space, closes on January 15, 2022. Did you know that’s in just over two weeks?

Soft/Loud brings together works by Noa Charuvi, Frances Goodman, Rosie Mudge, Carrie Schneider, Thu Kim Vu, and Cheryl Yun. Presenting both vibrantly colorful and softer, muted works, each artist expresses strong personal, political, and cultural messages. Placed in conversation, the works in the exhibition highlight the different forms of asserting one's own power and voice.

Tap the link in our bio for more information + images of this revelatory show. Soft/Loud was curated by Eliana Blechman () with Tessa Ferreryros (.ferreyros)

is upon us!

Today we’re taking it back to 2018 with Off/Axis, an exhibition in the lobby of 55 5th Ave by Yashua Klos & Kambui Olujimi.

The collaboration between Klos () and Olujimi () underscores the intersections and diversions of their independent, multi-disciplinary practices.

A guiding principle of both artists' work is the deconstruction of normalized structures of control to expose the power dynamics at play against black bodies.

Klos' practice encompasses collage, printmaking, and sculpture, which he uses to explore shifting perspectives on bodies and the relationship between those bodies and their environments. The new works on view with Art-in-Buildings represent a breakthrough moment for Klos, incorporating materials such as foam, plaster, concrete, and brass for the first time.

Furthering the experimental nature of this new body of work, Klos incorporated text banners that relate the creative process to acts of survivalism. The texts are self-reflective affirmations that Klos developed in response to the pressures of working against unjust systems.

The largest work, hung over the door, reads "your building has always been your place of worship." This is a winking reference that Time Equities Inc. is a real estate developer, but, more poetically, it's an acknowledgement of the physical spaces we choose to spend our time in and the act of building as a generative practice in the face of injustice.

the to learn more and through to see some luscious detail shots of this dynamic installation.

on a ? Groundbreaking.

🤳🤳🤳

Todays is dedicated to “Untitled Selfie” a 2019 exhibition at the West 10th Window by Geoff Kim ().

Kim's practice is rooted in the analog and digital collaging of portraiture. In “Untitled Selfie,” Kim turns the camera away from his usual external subject matter and onto himself, embedding his face into an image that appears to be within a cell phone screen (see the Wi-Fi and battery symbols in the top left and right corners).

Kim boldly presents multiple copies of his face to the public as a way to insert himself, and the Asian-American male figure, into the contemporary art scene, and as an exploration of the self in the age of digital image making.

Kim's compilation of selfies confronts the viewer – his portraits are scaled up and removed from the confines of the selfie medium as usually viewed on a smartphone.

Presenting 'selfies' as printed images in the West 10th Window, Kim explores how the images of ourselves captured on screens form our sense of self. Kim's selfies confront passerbyers and encourage self-reflection: How much of our time is connected to screens and the images that are born from them? How do we present, or create, the self via selfies? What is the role of the artist's hand in digital image making? Examining the selfie as an undeniable force in the zeitgeist of contemporary portrait photography, Untitled Selfie explores the changing nature of portraiture in the twenty-first century.

We now interrupt your regularly scheduled content with our latest edition of .

Today, we’re looking back on “Romance 2006” by Nathaniel Lieb, a 2006 exhibition at 125 Maiden Lane.

More specifically, we are looking at “The Killer Inside Me,” an installation consisting of a five-foot tall puffer fish, which contained a chirping cricket, all while suspended from a gold chain.

🐡🦗⛓

Learn more about this intriguing show at the link in our bio.

LAST CHANCE: Transfer-mations closes in exactly one week!

Transfer-mations brings together six artists who work between New York City and Upstate New York. The included artists explore themes of how self and home are reimagined in response to their changing environments and collected memories. Through the manipulation of materials, objects, and space, the presented works illustrate shifts in the artists' personal narratives as they navigate these new surroundings.

Love Apple Art Space () is open from 11:00-6:00, Friday-Sunday. Learn more about the show via the 🔗 in our bio.

Images:

1) “Pyramid” by Laetitia Hussain () with “9-9 Lunchlore,” “Close to wishing,” and ““Vessels” by Padma Rajendran (@ padmavathy_r)

2)”My small and boxed in freedom” by Shanti Grumbine ()

3) “Uncharted (What It Means To Be An Island) by Paolo Arao ()

4) “Ways of Grain” and “Glamour of the Hand” by Tyrone Mitchell ()

🍏🍎🍏

Happy ! Today we’re looking back on “Let Down Your Hair” by Frances Goodman (), a site-responsive sculptural installation at 55 5th avenue from 2015.

"Let Down Your Hair" is composed of densely wrapped cascading elements that resemble brightly colored ropes woven into a protective nest. Tendrils extend from the core and across the curved wall of the 55 5th Avenue lobby, exploring the limits of the architecture.

As with much of Goodman's work, “Let Down Your Hair” is deceiving: the slick, shiny surfaces, bright colors, and elegant lines resemble, at first glance, a formal study in gesture and materials. Upon closer inspection, however, the work reveals itself to be constructed of thousands of individual acrylic nails. 💅🏻

The mediums used in Frances Goodman's practice are the materials and labor of the beauty industry. Goodman deftly deploys fake nails, false eyelashes, earrings, pearls, and sequins, among many other items found in the beauty aisle, to create works that are simultaneously seductive and appalling.

The repetitive and meticulous gestures used to create “Let Down Your Hair” mimic the repetitive and meticulous labors of nail salons and beauty maintenance regimes. By employing these materials and efforts, Goodman's work draws attention to popular assumptions that narrow the possibilities of female identity to extremes of consumption, aspiration, obsession, desire, and anxiety.