August 2012 | Limited Edition of 250

JAMES STARKMANLET GO: MOMENT IN MOVEMENT

16 August - 09 September 2012AT YELLOW PERIL GALLERY

fire sand

designs.com

Publisher: V SouvannasaneEditor: Robert P. Stack

Art Director: Marcel McVayAdvertising Executive: Jennifer Young

COLLECT is quarterly limited edition magazine published by Yellow Peril Gallery to promote art and design for the curated lifestyle. The first six issues were published monthly; August 2012 is the last of the issues to be published monthy before starting our quarterly distribution.

COLLECT highlights the current exhibition at the Gallery and provides artists with a unique platform to share not only their work, but also the people, places and things that have shaped their world.

COLLECTYellow Peril Gallery60 Valley Street #5

Providence, RI 02909+1.401.861.1535

collect-magazine.com

CONTENTS MOMENT IN MOVEMENT / 02MEET JAMES STARKMAN / 04

SUMMER GRID, CONNECTED / 07FIRST WAVE: FLAT FILE ARTISTS / 08MY NAME IS RIOS, BENITO RIOS / 10

TABLE FIGHTS 2012 / 15 SICK KIDS FOUNDATION / 16

EVERYTHING IS FOR SALE / 19

To advertise in COLLECT , please contact Jennifer Young at jen@yellowperilgallery.com.August 2012 01

NEXT: RETINAL DISPLACEMENT

Up next at Yellow Peril Gallery is RETINAL DISPLACEMENT, an exhibition of new works by Canadian-born artist Naomi Campbell exploring the alternate realities stemming from the merging worlds of the virtual and actual states from 13 September to 14 October.

COLLECT is available at Yellow Peril Gallery and other establishments in Providence, Newport and NYC.

Read COLLECT magazine online: http://collect-magazine.com

Retinal Displacement, Naomi Campbell

LET GO: MOMENT IN MOVEMENT is the serendipitous photographic jour-ney of James Starkman as he followed a group of Parkour practitioners (known as traceurs) training in various urban environments in and around New York City.

Parkour, also known as l’art du déplacement (the art of displacement) or freerunning, is a physical discipline that originated in France; it involves training to overcome any obstacle within one’s path by adapting one’s movements to the environment. Simply put, Parkour is getting from point A to B in the shortest amount of time possible, often set in a city environment.

What began as an exploration of the visual elements of Parkour movement deepened into a personal inquiry for Starkman into the emotional and spiritual resonance of the images he spontane-ously caught on film. The result is this arresting collection of “moments” in movement, simultaneously revealing aspects of both artist and subjects as they “let go.”

In both their technical and thematic concerns, the works comprising this exhibition draw inspiration from varied sources, including the Belgian surrealist René Magritte and his technique of portraying ordinary objects in unfamiliar spaces to suggest new meanings through poetic juxtapositions. Taken together, the pieces demon-strate Starkman’s fascination with the nascent physical, emotional and spiritual potentialities suggested by the interplay of these elements and trace the unfolding of his discovery of unexpected beauty.

At its core, LET GO: MOMENT IN MOVEMENT is a visual meditation on the rich metaphoric possibilities suggested by moments of framed kinetic movement. As the traceurs bound over walls and dive down staircases, they begin to redefine their relationship to their environment. As they commit to action they let go. Obstacles become opportunities, fear becomes surrender, and confinement becomes freedom not only for the traceurs, but for the viewer entering the action. With these moments of transformation, Starkman challenges us to examine our own physical and emo-tional relationship to the images.

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Watch Me (2010) 24” x 30”, James Starkman

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Three Choices (2010) 40” x 50”, James Starkman

MEET JAMES STARKMANJAMES STARKMAN is a Canadian-born photographer and artist who lives in Brooklyn, New York.

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His photography combines a unique and creative aesthetic capturing subtle elements with light, composition and concept.

Starkman’s work has been commis-sioned by galleries, magazines, com-mercial companies, advertising agen-cies, and designers. He is the owner of LightSpace Studios (lightspace.tv), a full service film and photography studio situated in a swanky industrial loft district of East-Williamsburg with good privacy for celebrities or high profile guests, casts and crew.

LET GO: MOMENT IN MOVEMENT first debuted at Lincoln Center’s Frieda and Roy Furman Gallery from January 28 – February 17, 2011, coinciding with the 39th Annual Dance on Camera Film Festival.

The following interview between DFA Jour-nal Editor Kathryn Luckstone and James Starkman on his exhibit Let Go: Moment in Movement, originally appeared in the Jan/Feb 2011 DFA Journal issued by Dance Flms Association.

Firstly, what is Parkour?

Parkour is a way of moving, originally taught in the French army to efficiently get from one place to another without wasting energy. Talking about Parkour now and what it is in New York, I’d say it’s an urban movement. Young people are taking the movements from Parkour, like jumping and vaulting and using it instead as a way to express themselves.

How did you begin photographing them?

I never set out to shoot Parkour. It just so happened that I was discover-ing Parkour and I went to follow these guys and found what they were doing interesting. I can’t say that my photos

represent the movement in general. As I started to follow them, it became appar-ent how much of the process is mental, not just physical. That’s what got me interested in capturing them in moments that revealed their mental state rather than just the moves.

Can you discuss the selection pro-cess for the photos that became the exhibit?

There were definitely some key images I knew expressed what I wanted to convey. Walking into the gallery I had to determine what kind of journey I wanted the viewer to take. I wanted to frame moments of kinetics. I wanted to create an arc about grappling urban obstacles, releasing into flight and some images that reveal how its all done.

I noticed the images not only display the full body of your subject but also include a lot of the environment. Can you talk about your composition choices?

they would say what they were thinking of doing there. What I tried to do was compose what they wanted to do, in the frame, so I could try to tell a story and highlight different characters. Even though they have done performances, I was not shooting a performance. Some of them, I’d ask to move closer or farther from the camera, like the images on the roof, and other times they came completely serendipitously.

What happens to the exhibit now?

I have a much larger library; we had to keep it to sixteen pieces for this exhibit so I’m hoping to move it to other gal-leries.

I have had requests for other museums in two cities in Canada and hopefully a few locations in Berlin.

I’d like to expand it a bit more as well. I really like the effect it has on people.

This one guy came into the gallery and said, “I can only say one thing, this exhibit was life affirming.” That made me feel good. I go back to the images to feel the same way.

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I realized early on that getting tight shots of them became very unrealistic in the final product. It was important to include the landscape for a few reasons: One, because you can see their shadows and how far they are off the ground. With all of the photo software out there, it was important to me to show that they weren’t digitally placed in those positions.

Two, I wanted to incorporate my knowl-edge of shooting angles and the urban landscape, so that they became con-trast points to the artists. It also makes you aware that we’re in a landscape that could threaten us at any moment and to see these Parkour artists with their heads inches off the ground and in a state of bliss is their way of overcom-ing the elements.

Allowing the viewer to see the mind space of a person who is risking a lot is something I really tried to capture.

Considering the spontaneity of Parkour, what was your process for capturing the moments that you did?

There was no choreographic plan. A lot of times we’d arrive at a location and

DIANA JOY > IAMTHEINTERNETa farewell to PROVIDENCE

FRIDAYS, 8-10 PM @ Yellow Peril UNTIL SEPT 7th

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SUMMER GRID, CONNECTEDV Souvannasane, Director, Yellow Peril Gallery

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SUMMER GRID is an outdoor installation event by multidisci-plinary artist Quintín Rivera-Toro that premiered at The Plant Court-yard adjacent to Yellow Peril Gallery on Saturday, August 25th.

Part of an on going series of interven-tions – and in the spirit of relational esthetics – SUMMER GRID is a platform for social engagement as its own form of a visual art experience. The instal-lation comprises a large arrangement of over two dozen “kiddie pools” and “backyard waterworks” in The Plant Courtyard. The single day event encour-aged the participation of young children (with guardians) and adults alike.

Perched atop a lifeguard stand, artist Quintín Rivera-Toro monitored the activity to ensure that the participants

were safe from drowning in the shallow pools or other hazards as a result of playing in a wet environment.

SUMMER GRID by Quintín Rivera-Toro (Photos © Emma Fague 2012)

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FIRST WAVE: FLAT FILE ARTISTS @ YELLOW PERILCurated by Robert P. Stack and Marcel McVay

FLAT FILES @ Yellow Peril is a revolving collection of works on paper by contemporary artists in a wide range of media including graphite, ink, a variety of paints, photography, printmaking and collage.

The concept for The Flat File Project began in the mid-1990s at Pierogi, an artist run gallery in Williamsburg that was founded by artist Joe Amrhein, with the vision of making works on pa-per available to a larger audience.

FLAT FILES @ Yellow Peril aims to be dynamic resource for artists, curators and collectors in Providence, Boston, New York and beyond.

Artists in FLAT FILES @ Yellow Peril have a portfolio in a drawer that con-tains up to a dozen works of art, along with the artist’s biography, CV and all necessary information about the portfo-lio (artwork title, date, medium, size and price).

The current roster of FLAT FILES @ Yellow Peril include artists who have exhibited at the Gallery and several new emerging and midcareer artists, many of which have works of art acquired by major museums and private collectors.

FLAT FILES @ Yellow Peril drawers are open to the public during gallery hours – Thursday + Friday, 3 PM to 8 PM and Saturday + Sunday, 12 PM to 5 PM – or by appointment.

A comprehensive catalogue will also be available for perusal and purchase on yellowperilgallery.com’s FLAT FILES shop, set to launch in September.

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FLAT FILES @ Yellow Peril are cureated by Curator Robert P. Stack and Gallery Manager Marcel McVay. If you are interested in participating in the next wave of artists in FLAT FILES @ Yellow Peril, please send your submission directly to info@yellowperilgallery.com.

MY NAME IS RIOS, BENITO RIOSJennifer Young, Gallery Assistant, Yellow Peril Gallery

The Providence Artist Campaign had a highly successful debate event at AS220’S FOO FEST on August 11, 2012. There are now three official can-didates in the running for Providence Artist this election cycle: Tom West, Jessica Brown, and Benito Rios.

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At FOO FEST, the candidates publicly debated major political issues, but they debated alternatively and creatively via art. After topics ranging from gender to job creation and same-sex marriage were announced, the artists were given a limited amount of time to express their opinions on canvas. The art that they created was their form of debate.

When the time expired, the candidates were finished with the piece and do-nated it to whomever in the crowd was quick enough to grab it. The works of art were mostly satirical but they also had a serious slate, simply because they were debating some pretty intense issues.

In the gender debate, Tom West painted a brain in the shape of a penis

and wrote: “What’s on your Mind?”. In response to the topic of abortion, Benito Rios painted a provocative image of a bloody coat hanger. Rios, the last candidate to be profiled in COLLECT, wooed the crowd at FOO FEST and won the public opinion poll. The people simply love Rios. He is shameless and creatively aggressive, and it all comes through in his art.

What is your campaign slogan and why should we care?

“Be the change you hope(d) for” is the slogan I am sticking with. “Spange” was my first choice but I felt that the majority wouldn’t get it right away. It would have taken too much explaining. I believe that Obama and his campaign took the importance away from ‘Change’ and ‘Hope’. Almost conditioned, the masses

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associate the words with the opposite of what they mean. Then again, I also believe that it’s the people’s fault why everything is the way it is. I mean, does one really believe that A SINGLE wealthy, well educated in Poli-tics, MAN and his TEAM has the ability to control the way this entire “country “ works. That’s pathetic! But under-standable. It’s not one’s fault that most of us have been taught by idiots who have been taught by idiots who have been forced idiocy. “Be the change you hope(d) for!!!”

As for “why should we care,” hahaha, you don’t have to. I am becoming the change I want in this unfortunate society which makes MY world all the better. There isn’t a you or a we here. Only a ME. You’re not obligated to care nor am I you. I accept you though. That’s the difference.

What bothers you about theProvidence Art scene, and why did you choose to live and make art here?

What Art scene?! Is there some sort of club or cult that I am not aware of?! Damn, I mean, where do I sign up?! Where do I go?! Who are these art scenesters?! I hope this question isn’t referring to those “struggling individu-als” whom retreat to some mill space in

Olneyville. Cause if that was the case, I AM NOT AN ARTIST. Are the other candidates aware of this scene of Art?! I want answers!!! Wait, I don’t live in Providence. I AM PROVIDENCE and create in a oasis within suburbia.

If you were rich and powerful like Bill Gates or Oprah, what single thing would change about The Creative Capitol?

I am RICH and POWERFUL. Did “I AM PROVIDENCE” not cut it? Why is a question relating to money usually some sort of way of figuring out something about a person? Oh wait, Idiocy. Damn.To finish answering the question, “What one thing I would change about The Creative Capital,” ha, I’d make it The Creative Capital and not just some territory created with imaginary lines, stating that it is The Creative Capital. What is so creative about it? Seriously, I am completely ignorant to why Provi-dence is called The Creative Capital.

You can catch the politically-charged artwork from the Providence Artist Campaign on display at Julian’s Restaurant from October 20 through November 17. And don’t forget: Every Tuesday until Election Day, Tom West will host the Providence Artist Campaign Headquarters at DUSK bar.

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233 Spring Street, Newport, RI10 AM - 5 PM, Closed Sundays

www.philipsawyer.com

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Natural Fabrics

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Zen Mensch Accountant

TABLE FIGHTS 2012

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Table Fights 2012 is furniture performance art event that features fully automated, remote controlled, fighting tables that compete for “ultimate supremacy in a splinter thirsty showdown of furniture mayhem.” Over 150 people attend-ed the event, which was sponsored by RISCA and hosted by Yellow Peril Gallery at The Plant Courtyard on Sunday, August 19, 2012.

For the event’s return to its birthplace in Providence, Table Fights founders Shaun Bullens, Annie Evelyn and artist Cara Blaine sought to engage more local artists who may not oth-erwise have experimented with elec-tronic media or had the opportunity to showcase their work in a performance setting.

“We wish to expand our impact on local audiences with the thrill of a Table Fights event as a vehicle for performance art appreciation,” says Bullens, who con-ceived Table Fights in 2007 with Evelyn

during their graduate student years in RISD’s Furniture Design program.

Since its inception, Table Fights has grown to be a much-anticipated annual event during Design Week, both for the artists involved and for the audience in attendance. In June 2012, Table Fights was invited to perform at the annual Furniture Society conference in Boston, MA, where over 500 people were in attendance.

“We have experienced Table Fights to be the ‘great equalizer’ among artists and non-artists alike,” notes Blaine. “The nature of a Table Fights table is appealing to artists, designers, crafts-people, engineers, actors and athletes.”

Table Fights features a raised 12’ diameter ring, witty announcers, ring girls and boys, judges, and a DJ. “Gritty, absurd, and intentionally outrageous, Table Fights promises to infuse some wildness to the local Providence arts scene,” says Bullens.

A portion of the sales from LET GO: MOMENT IN MOVEMENT will be do-nated to SickKids Foundation, the largest charitable funder of child health research, learning and care in Canada.

Mission: We inspire our communities to invest in health and scientific advances to improve the lives of children and their families in Canada and around the world.

Vision: Healthier Children. A Better World.™ • Established in 1972, SickKids Foundation raises funds on behalf of The Hospital for Sick Children

• The Foundation’s fundraising is driven by the belief that improving the health and well-being of children is one of the most powerful ways to improve society

Community support, separate and distinct from government and granting agencies, is a critical source of funding for SickKids.

• In the fiscal year that ended March 31, 2012, SickKids Foundation invested $61.3 million in child health research, learning and care

• $59.3 million of that investment went to critical initiatives at SickKids and $2 million went to national, international and other initiatives

For more information, please visit sickkidsfoundation.com »

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EVERYTHING IS FOR SALEPrice List for Works of Art for Sale at LET GO

Photographs Chromogenic color print - Fuji silver halide Mounted on 3mm archival sintra Available framed or unframed

“Beneath The City of Light and Shadow” HD DVD (2011) Dir: Nadia Lesy

If you are interested in purchasing any original works of art from LET GO: MOMENT IN MOVEMENT, please contact V Souvannasane, Director, Yellow Peril Gallery, via e-mail at van@yellowperilgallery.com or GSM (+1.917.655.1497) to set up an appointment for a private viewing.

$1,550 -$4,000

$250

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Let Go (2010) 40” x 50”, James Starkman

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NATALIE GRUPPUSO14 JUNE - 15 JULY

JAMEY MORRILL15 NOV - 09 DEC

60 Valley St #5 | Providence, RIyellowperilgallery.com

NAOMI CAMPBELL13 SEPT - 14 OCT

QUINTÍN RIVERA-TORO18 OCT - 11 NOV