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VOLTA NY 2015

March 5, 2015 to March 8, 2015

Artists:

Images:

POSSIBLE BIBLIOGRAPHY
POSSIBLE BIBLIOGRAPHY
POSSIBLE BIBLIOGRAPHY
WHO'S AFRAID OF SOMETHING REAL?
WHO'S AFRAID OF SOMETHING REAL?
WHO'S AFRAID OF SOMETHING REAL?
WHO'S AFRAID OF SOMETHING REAL?
WHO'S AFRAID OF SOMETHING REAL?
WHEN WILL MY LOVE BE RIGHT
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
WHAT ACTUALLY HAPPENS (SEE BLUE SAY WHITE)
WHAT ACTUALLY HAPPENS (SEE BLACK SAY RED)
DAYDREAM NATION (12)
DAYDREAM NATION (1)
Notes: 

PDX CONTEMPORARY ART is delighted to announce that the galley will be exhibiting the work of Arnold Joseph Kemp in a solo presentation at VOLTA NY.

At the center of the presentation at VOLTA NY Kemp will place a hauntingly, enigmatic sculpture titled WHEN WILL MY LOVE BE RIGHT and made of objects that look found but are actually made by the artist. Accompanying this work are several of Kemp’s photographic images of aluminum masks that speak with a paradoxical coolness of the conflict between competing needs to mask and to express the self that is an aesthetic stance familiar from African art and American jazz.
BOOTH #B14

PUBLIC HOURS:
Friday – Saturday, March 6 – 7, 12 – 8 pm
Sunday, March 8, 12 – 7 pm

Mutually acknowledged VIP access between VOLTA NY and The Armory Show

VOLTA NY
PIER 90
West 50th Street at 12th Avenue
New York, NY

For more fair information visit www.voltashow.com

Statement: 

Arnold Joseph Kemp is of the generation of pacesetting artists who became known in New York through participation in the Studio Museum in Harlem’s groundbreaking Freestyle exhibition of 2001. Kemp’s work functions as an indicator of one of the varied directions artists are taking in deploying references to black culture. At the center of the presentation Kemp has placed a hauntingly, enigmatic sculpture titled WHEN WILL MY LOVE BE RIGHT that is made of objects that look found but are actually made by the artist. Accompanying this work are several of Kemp’s photographic images of "aluminums" that speak with a paradoxical coolness of the conflict between competing needs to mask and to express the self that is an aesthetic stance familiar from African art and American jazz. Kemp’s work displays a certain mastery of and irreverence toward history that allows him to move like a jazz musician who plays with the confidence to push blackness into a higher level of abstraction, to push it into silence and poetry.