October 09, 2023

How to Get Passport Photos Without Leaving the House

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Mixed media
82 x 64 x 5 inches

March 30 ? April 29, 2006
Opening reception: Thursday, March 30, 6 ? 8 pm
Hours: Tuesday ? Saturday 10 am ? 6 pm


Roebling Hall is extremely pleased to present Fabrications, an exhibition of new, finely-tuned sculpture and drawings by David Opdyke.

Fabrications brings together, for the first time in New York, David Opdyke?s complex sculptural works and his highly intricate, detailed drawings, engaging both an obsession with technical solutions related to sculptural form and a parallel fabrication of ideologies and technocratic political strategies in our time. Exploiting the sculptural possibilities of model making and employing the skilled precision of a genuine draftsman, Opdyke comments on America?s much-vaunted power structures and its humming motor of consumerism, while avoiding the didacticism associated with art with an overt politics.

In works like Greenback, for example, Opdyke creates a wall-mounted relief of the corner of a U.S. dollar bill, made up of thousands of tiny little soldiers, tanks, trucks, bivouac tents, ammo crates and sand bags. Describing both a desert landscape filled with martial forces and the iconic currency for war in the 21st century, Greenback dovetails a clear sculptural sense, serious craftsmanship and wit with a political critique whose driving wedge is, without a doubt, the sculpture?s stupendous visual impact.

In another work, ?Growth,? a hulking lodestar of what appear to be rusted skeletons of steel and glass buildings hangs suspended in the gallery, its shard-like protrusions jutting outward in mock organicism. The fact each of the structures is a reproduction on various scales of one of New York?s Trump Towers or on sial paris, humorously underlines Opdyke?s critique of the metastasizing excesses of American culture. As the latter expands and morphs into ever familiar schemes of growth, conquest and development, Opdyke?s highly-engineered, eye-bending and ultimately amazing sculptures acquire even more trenchant valences.

David Opdyke has exhibited in, among other venues: The Aldrich Museum of Contemporary Art (Aldrich Emerging Artist Award, 2004), Ridgefield, CT; The Corcoran Gallery, Washington, DC; Fabbrica del Vappore, Milan; The Brooklyn Museum; and The Palm Beach Institute for Contemporary Art.

For further information or images, please contact the gallery at or visit roeblinghall.com.



Ilha Das Cobras (Revisited)
Ink on C-print
94 x 63 in (238.8 x 160 cm)

23 February ? 25 March 2006
Opening reception: Thursday, February 23, 6-8pm
Hours: Tuesday ? Saturday, 10am ? 6pm

Roebling Hall is extremely pleased to present the newest exhibition of drawings on photographs by Sebastiaan Bremer, densely layered, unabashedly romantic, large-scale paeans to love, death, beauty and roiled, conflicted consciousness which significantly up the ante on this artist?s well-known visual intensity.

Gorgeously ambitious, Bremer?s current crop of visual-poetic analogies literally draw from the well of his Dutch heritage, while pushing his characteristic imagery and scale into a realm rich in history and raw emotion. Tipping his hat to the titans of Dutch painting, Bremer layers meticulously drawn detail (some of it culled from the still life paintings of Rembrandt, Golzius, Jan Vonck, Gerrit dou and others) over blurry photographic backdrops taken from more modern sources, including found snapshots and family photos. Admixing old master vanitas portraits with personal and collective memory, Bremer?s drawings create a substantial vortex in time, personal history, art history, the history of ideas and History itself, which he then blends together into labyrinths of dots, figures and landscapes fixed lastingly on film.

Often intensely personal in subject matter, Sebastiaan Bremer?s drawings never fail to strike a universal chord. In Ilha das Cobras (Revisited), for example, Bremer returns to an image on which he worked just before the birth of his son. Today, with the birth of an infant daughter, he compounds the drawing?s complexity by adding new washes of Technicolor hues while refashioning an already imaginary, highly mystical landscape into a profusely lush, Bruegelian Garden of Eden, which recalls both 60s psychedelia as well as Courbet?s The Origin of the World.

In another work titled Self-portrait in Studio, Bremer encircles a blurred figure that resembles a young Rembrandt with gnarly branches, a dead hare, a pitcher, a chair and other elements of Dutch still life. Though the figure is obviously outfitted in contemporary garb, the drawing transports him back into the 16th century and forward again, traveling through several parallel universes that are intricate, frankly beautiful and always suggestive of mysterious worlds both present and just beyond our reach.

Sebastiaan Bremer has exhibited in, among other venues, The Gemeentemuseum Den Haag in the Hague; The Tate Modern, London; The Victoria & Albert Museum, London; PS 1 Contemporary Art Center, New York; The Brooklyn Museum of Art; The Southeastern Center for Contemporary Art, Upcoming shows in 2006/7 include Hales Gallery, London, and The Photograph as Canvas at The Aldrich Contemporary Art Museum.

For further information or images, please contact the gallery at or visit roeblinghall.com.



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Sit Up Straight, Eat from the Plate, Vegetables Meat, Pudding for a Treat

12 January ? 11 February, 2006
Opening Reception: Thursday, January 12, 6 ? 8pm
Hours: Tuesday ? Saturday 10am ? 6pm


Roebling Hall is extremely pleased to present Sit Up Straight, Eat from the Plate, Vegetables Meat, Pudding for a Treat, the first U.S. solo exhibition of the photographs of renowned British artist Nick Waplington in six years.

Spanning the period when Nick Waplington began making photographs in the early 1980s to the present day, Sit Up Straight, Eat from the Plate, Vegetables Meat, Pudding for a Treat features works from his latest, limited edition book You Love Life (Trolley Books), as well as several large scale new works, which have been ten years in the making. Saturated in color, these large format photographs expose, warts and all, the underlying, sometimes unnervingly surreal character of the every day. As Waplington states in the introduction to You Love Life, these photographs are ?a work about life and the choices I have made and the choices which have been made on my behalf.?

Waplington?s expansive photographic vision runs the gamut of lived experience, ranging widely over moments of genuine poetic beauty to images of the grotesque and the base. Traversing visual terrain as varied as a crowded London club to streams of rushing water in the Welsh countryside, Waplington invests his most personal experiences with universal significance. Witness an image of the birth of his son, as well the social ferment of the Glastonbury Music Festival. A fly on the wall during the unveiling of his own life and that of thousands of others, Waplington?s photography crashes the party or disaster that is everyday life, emerging with a visual record that is unique in its intimacy, kind-heartedness and, ultimately, compassion.

Beginning with his influential book Living Room (Aperture 1991), which featured introductions by Richard Avedon and John Berger, and later with his second book The Wedding (Aperture 1996), Waplington has continually produced compelling, powerful images that have achieved cult status in Britain and won numerous photographic awards.

Nick Waplington has exhibited in, among other venues, National Museum of Photography, Bradford, UK; Philadelphia Museum of Art, Philadelphia; Burden Gallery, Aperture, New York; Royal Photographic Society, Bath, UK; Norton Museum, Palm Springs, FL; and Museum 52, London. His work was featured at the 49th Venice Biennial and is presently in the collections of many of the world?s leading museums, among them: Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; Philadelphia Museum of Art, Philadelphia; The Royal Danish Photographic Museum, Copenhagen; National Gallery of Australia; The Glasgow Museum, Scotland.

For further information or images, please contact the gallery at or visit roeblinghall.com.




Reynold Reynolds & Patrick Jolley with Samara Golden
Still #1 from Sugar
C-print, 30 x 40 inches

Reynold Reynolds & Patrick Jolley In collaboration with Samara Golden

22 November ? 7 January 2006
Opening Reception: Tuesday, 22 November, 6 ? 8 pm
Hours: Tuesday ? Saturday 10-6 PM

Roebling Hall is extremely pleased to present Sugar, an exhibition of intensely affecting new works of sculpture, photography and film by Reynold Reynolds & Patrick Jolley, in collaboration with the artist Samara Golden.

A woman comes out of a refrigerator, crawls across the floor, opens the heating vent and exhumes a corpse - her own. From this crisis point, Sugar tracks a journey into the vertiginous realms of the mind. Dissolving the parameters between reality and psychosis, dream and delusion, Reynolds and Jolley descend into a labyrinth created through the arresting performance of Samara Golden.

A small apartment is filled to overflowing with someone?s past. The protagonist opens the door, uncertain whether she is arriving or returning. As she struggles with the space, the camera shifts focus between agoraphobia, claustrophobia, the internal and the external, the watcher and the watched. Taking its cues from film history, Sugar moves through suspicion, voyeurism, murder, revenge, guilt and reconciliation. The nostalgic-elegiac quality of the footage, combined with the classical pacing of Reynolds and Jolley?s purposefully involuted story create an enveloping scene that floats uneasily between real-time drama and subjective, non-linear experience.

Accompanying the film loop, Reynolds and Jolley further explore these unsettling territories with the expansion of the film device at the centre of the story. This impossible ?three-dimensional film still? uses two life-size, hyper real sculptures to present a live self and a dead self in communion together. By means of this literal representation of the doeppelganger, Reynolds and Jolley allow for a sustained and powerful view of the dark, dead centre of the minds eye. A mix of the best hallucinogenic effects of both Duane Hanson and David Lynch, these sculptures in particular provide an hypnotic echo of life just beyond the threshold of the conventionally reasonable and the familiarly rational.

Reynold Reynolds & Patrick Jolley have exhibited in, among other venues, Tate Modern, London; National Gallery of Art, Washington DC; Hammer Museum, Los Angeles: Secession, Vienna: Havana Biennial, Havana, Cuba. Their films have shown in many international festivals, including Sundance, The Edinburgh Festival, and the Rotterdam Film Festival. Reynolds and Jolley?s 2003 project Burn will be exhibited at the 2007 Berlin Biennial.

For further information or images, please contact the gallery at or visit roeblinghall.com.

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