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Mary Temple

Untitled

This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.

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For this untitled project, Mary Temple is engaging in a daily drawing practice that began during her residency and will continue through the run of the exhibition—for a total of one year. The work is both open-ended and has duration. The timeliness of “today’s” drawing will become tomorrow’s news. Each day a hand drawing is scanned by the artist and emailed to the Museum staff, who then print it out and hang the exhibition copy within a calendar format in the gallery.

After reviewing a number of news sites on the Internet, Temple chooses a story and an image of a world leader and makes an ink drawing of that person, placing them within the white field of the drawing paper. She then writes a line of text at the bottom of the page to illustrate the day’s story. Temple locates the portrait according to the level of hopefulness that the story engenders for her. The portraits on the pages/days create a musical notation of the ebb and flow of optimism and pessimism—of the betterment and detriment of our world. Stepping back, you read the calendar like a musical score and take the pulse of the three months exhibited at a time.

The dissemination of the image and its transposition from medium to medium is a key to the work—from the original photojournalist’s shot to a digital file on the Internet to Temple’s translation into hand-drawn image ink on paper, back to a digital file and, lastly, onto a piece of paper hung in the gallery.

Curated by Dara Meyers-Kingsley

When

2008

About The Artist

Primarily known for her trompe l'oeil installations, her cross-discipline practice utilizes painting, sculpture, and drawing. Informational spin, false documents, and verisimilitude all play important conceptual roles in Temple's work.

Temple has exhibited her work internationally and throughout the United States. She has completed commissioned projects for solo and group shows at the San Francisco Museum of Modern Art, San Francisco, CA; Sculpture Center, Long Island City, Queens, NY; Massachusetts Museum of Contemporary Art, North Adams, MA; The Aldrich Contemporary Art Museum, Ridgefield, CT; Rice Gallery, Houston, TX; Western Bridge, Seattle, WA; The Drawing Center, New York; UCSF Mission Bay Medical Center, San Francisco, CA; Hyogo Prefectural Museum of Art, Kobe, Japan; among many others. In 2016 the artist completed a permanent public project for the City of New York’s Percent for Arts program, at the historic landmark preservation site, McCarren Pool in Williamsburg, Brooklyn, which received the Mayor’s Excellence in Design Award for 2017.

Temple is the recipient of the 2010 Saint-Gaudens Memorial Fellowship, the 2010 Basil Alkazzi Award for Excellence in Painting, a 2010 and 2007 NYFA Fellowship in Painting, and was NYFA’s Lily Auchincloss Fellow in Painting in 2007.

For this untitled project, Mary Temple is engaging in a daily drawing practice that began during her residency and will continue through the run of the exhibition—for a total of one year. The work is both open-ended and has duration. The timeliness of “today’s” drawing will become tomorrow’s news. Each day a hand drawing is scanned by the artist and emailed to the Museum staff, who then print it out and hang the exhibition copy within a calendar format in the gallery.

After reviewing a number of news sites on the Internet, Temple chooses a story and an image of a world leader and makes an ink drawing of that person, placing them within the white field of the drawing paper. She then writes a line of text at the bottom of the page to illustrate the day’s story. Temple locates the portrait according to the level of hopefulness that the story engenders for her. The portraits on the pages/days create a musical notation of the ebb and flow of optimism and pessimism—of the betterment and detriment of our world. Stepping back, you read the calendar like a musical score and take the pulse of the three months exhibited at a time.

The dissemination of the image and its transposition from medium to medium is a key to the work—from the original photojournalist’s shot to a digital file on the Internet to Temple’s translation into hand-drawn image ink on paper, back to a digital file and, lastly, onto a piece of paper hung in the gallery.

Curated by Dara Meyers-Kingsley

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