Simensky ImagesandStdntImages .pdf

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Title: Simensky_Peter_Images
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P E T E R S IM E N S K Y
6 1   H a n c o c k   S t .   A p t 4   B r o o k l y n ,   N Y   1 1 2 1 6   -­‐   ( 9 1 7 )   2 9 7 -­‐ 6 9 0 6   -­‐   n e u t r a l c a p i t a l @ g m a i l . c o m   -­‐   p e t e r s i m e n s k y . c o m

Images:

1. Peter Simensky, Gold Dust, Artist Project for Cabinet Magazine, Money Issue, Summer 2013. 24-karat gold
dust. Performance view.
This image documents the process of dusting Cabinet magazine at their Brooklyn project space with 24-karat gold. On
pages 81-82 of the magazine is the following text: The “Money” issue of Cabinet has been dusted with 7.9 grams of
24-karat gold, an amount equal in value to the cost of printing the two pages allotted to my project.

2. Peter Simensky, Tracing a Bowline in the Snow (Lucky Rabbit), 2012. Bent wood and rabbit’s foot. Ink and
crushed glass (“diamond dust”) silk screened on paper on glass sheet. 72 x 48 x 30”
“The rabbit comes out of its hole, around a tree and back down the hole” is the mnemonic device for teaching how to
tie a bowline knot. This piece takes on the form of this story with the bent wood forming the knot in mid air. At its base
a rabbit’s foot stands on end, a symbol of good luck. The coil like form rests on top a table of glass – topped with a silk
screen print of rabbit tracks in the snow. The snow sparkles with highlights of crushed glass otherwise known as
“diamond dust” – a path of possible rewards. The top of the bend wood knot is forked reminiscent of the dowser’s rod,
wishbone, or tree branches.

3. Tracing a Bowline in the Snow (Lucky Rabbit) (details), 2012. Bent wood and rabbit’s foot. Ink and crushed glass
(“diamond dust”) silk screened on paper on glass sheet. 72 x 48 x 30”

4. Peter Simensky, Mating Lines, 2012. Bent wood and rabbit’s feet. Ink and crushed glass (“diamond dust”) silk
screened on paper on glass sheets. 80 x 96 x 32”.

The sheet bend knot takes the form of a double bowline using the familiar story of the rabbit coming out of its hole and
around a tree to trace a line in space and form a hitch. My wooden rope dances into the knot and is held mid air
following the lines of these two courting mates. Part tracking device and map of the chase, these sculptures exhibit
movement in their stillness and stand at repose on a set of lucky rabbit's feet in opposing tracks of diamond dusted
snow and sand.

5. Peter Simensky, Give Me Shelter, 2012. 99 Gold foil “Space Blankets”. Unfolded 56 x 84 inches
The piece consists of a stack of 99 gold emergency blankets. These blankets are otherwise known as the original
“Space Blanket” and used to fend off hypothermia. While micro-thin and light-weight, each individual blanket appears
as if it were a solid sheet of metal. The gold emergency blanket is exceptionally reflective, bouncing light off the many
creases it retains after being unfolded. In likeness it is suggestive of the gold bullion sealed in the vaults below the
Federal Reserve in Lower Manhattan. It both appears to bear weight and significance, however its real utility remains
in its weightlessness, portability, and sheerness again the elements. Accordingly visitors could take a blanket as
needed or desired, with replacement blankets filling in the stack to its original number at the end of each day. This kind
of engagement with the public is pointedly indebted to the posters and candy piles of Felix Gonzales Torres. The
emergency blanket speaks to the needs of shelter, both in the recent Occupy movement and the housing crisis of the
past several years. I hope to create a tension between the formal pleasure and material suggestiveness of the gold
stack and its alternative value as a life saving fabric against the most primary obstacles.

6. Peter Simensky, Give Me Shelter, 2012. Performance views, Storefront for Art and Architecture, NY.
Between the open walls of the Storefront for Art and Architecture and Kenmare Street in New York, audience and
passerby were embraced in security blankets forming a sea of gold bodies.

7. Peter Simensky, Untitled (Sunset), 2012. Canvas, dyed felt, and steel. 10’ x 5’ / 10’ x 5’.

This piece is inspired from the traditional fireman’s trampoline used to safely catch a falling victim from great heights.
The function of the original is left unresolved, collapsed its center and reduced to a set of primary formal parts.
Spotting the fall is a pad of dyed felt – forming an image of a sunset on the water.

8. Peter Simensky, Broken Arrow, 2012. Red Oak, steel, and twine. 24 x 20 x 1/2”
This arrow with a split end is indicative of the dowser’s rod. In search of a target the arrow finds its mark, imbedding
itself in the gallery wall. Guided by its own intuitive compass Broken Arrow offers the benefit of securing its location
and installation on its own terms.

9. PeterSimensky, Archimedes Screw, 2011, oil on Persian carpet, wood, string, arrowhead, 20’ x 36” x 36”.
In Gassert Grunert Gallery’s massive cement atrium I divined the location of a hidden waterfall – described by the
Persian carpet I painted. I made a bent wood arrow that was used as a divining tool. This is the most recent work in a
series
in
which
I
locate
hidden
sources
of
potential
wealth
in
art
spaces.


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