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"Call the Interruptions Days" a group exhibition curated by Brandon Lattu September 5th through October 11th, 2008 Opening reception Friday September 5th, 6-8pm Works By: David Hughes JP Munro Ruby Neri Jon Pestoni Amy Sarkisian Jeremy Sigler Tyler Vlahovich Leo Koenig, Inc. is pleased to present, 鈥淐all the Interruptions Days鈥�, a group exhibition curated by Brandon Lattu. While any over-arching theme would be inappropriate for an exhibition of artists so disparate in method, this group, as a whole, does exhibit tendencies in common. Definitive choices made between component signs within an individual work are emphasized over a serial reliance on a type of image or method that 鈥渂rands鈥� a signature style. Lattu states 鈥渢his emphasis on experimentation composed between signs within a single work seems to be a means to impact a complexity on individual artworks that has largely been overlooked in the shadow of Warhol, as well as the rise of photography in the artworld. It is tied to the demise of a recognized canon, that has accompanied the impulse to quotation in art during post-modernism.鈥� These works do not rely upon a quotation of a pop-culture image to re-site the individual and the activity of art-making. Rather, they emphasize the decisions made arranging complicated signs in a manner that is analogous to the complexities of our world. It鈥檚 evident from the range of methods and references employed in the works, that these artists have acknowledged the legacies of minimalism and conceptualism. The work however, is clearly energized by the possibilities afforded by the discrete space of the artwork, fluently combining the materials, shapes and languages at hand. Construction in painting, sculpture, poetry and weaving is favored over the choice of a proxy image. Untitled Picture by Jon Pestoni speaks directly through varied, hierarchical subject matter. The single piece of depicted information in black and white at the center of the canvas, circled by golden loops and cornered by random bits of alphabet, gives the viewer a compact sense of pictorial space. It is an abstraction whose graphic variables sit extremely close to the surface and provide the viewer with a sense of hyper clarity. The picture鈥檚 discovered composition; its unrefined, bumpy surface, mixed with the deliberateness of the subject matter, creates a complex read of representation and abstraction. As a sign, the work places the subject of painting in quotations; filled with references. Untitled Picture is an easel painting made without a plan. It鈥檚 part old and part new. Amy Sarkisian will exhibit Rug Sculpture, a sculpture woven in the latch-hook method that has the appearance of an oriental rug. Presented on a low pedestal, this sculpture first appears slightly out of focus, or faintly vibrating. With more scrutiny, one becomes aware that the soft surface is made of yarn far too large to render the minute detail of Oriental rugs. Traditionally, this detail communicates the rug鈥檚 narrative, as well as providing a measure by which the quality of the rug is judged. In fact, Sarkisian鈥檚 sculpture was modeled after a range of machine- produced imitation oriental rugs. Through her lower resolution production of the work, Sarkisian has transformed her subject, utilizing the moment of fascination to connect her sculpture through the common mass produced knockoff and back to a wonderfully detailed example of cultural craft production. While it is secondary in the work, one realizes that this piece reverses and revitalizes the turnabout that Carl Andre鈥檚 metal floor pieces performed from the handcrafted to the machine produced. Ruby Neri鈥檚 two paintings show a lightness of touch rare in experimental work today. The application of paint is distinct in each area of both paintings, structuring the composition with a visual and tactile code that ties the speed, color, form, and coverage of paint to the way that each section is viewed. Particularly, the use of col