Call & Response
Call & Response | September 10–December 3, 2017
Pictured above: Dead Reckoning, 2017, mirror, rotating ball heads, tracing paper, frottage, balsa wood, aluminum wire, machine and hand-sewn vellum, hardware, dimensions variable. Courtesy of the artist and Wave Hill. Photo: Stefan Hagen.
Brandon Neubauer’s installation is inspired by the history of sailing and celestial navigation. Using small mirrors, he developed a technique to align multiple images of projected suns into slow-moving, recognizable constellations cast onto paper and wood screens that evoke the rigging on schooner ships. Neubauer first experimented with these concepts and methods for projecting sunlight in his 2014 Sunroom Project. Further developing his interest in site-specificity for Call & Response, he has recreated constellations that would be visible in the night sky during the exhibition period. An outdoor sculptural piece, also outfitted with small mirrors, casts sunlight into the space through a window. By bringing imagery of the sky into the gallery, his work collapses the boundaries between interiority and exteriority, nearness and distance.
Looking Up, Out and Away
Sunroom Project Space | April 8–May 18, 2014
Looking Up, Out and Away (detail), 2014, multi-media installation, dimensions variable. Courtesy of the artist.
Brandon Neubauer’s work is drawn from his experience of the landscape as temporal layers in which natural and built spaces overlap. Focusing on a specific site, his memories merge with research and imagined histories to inspire a loose-knit narrative articulated through a time-based installation. Neubauer exploits the photographic image as a mnemonic tool, diffusing the separation of past and present to expose memory as a subjective process. Through the medium of photography, he constructs a psychic space in which one can reflect on the artist’s and viewers’ collective relationship to the surroundings.
Developed since summer 2013 and produced while in residence in Wave Hill’s 2014 Winter Workspace residency, Neubauer’s Sunroom Project, Looking Out, Up and Away, incorporates video projection, photographs and recorded sound to create a portrait of Wave Hill that engages time, optical phenomena and topography. The Sunroom’s surrounding vista becomes a backdrop as he layers images that reference the changing view and cycles of nature over the seasons. For instance, images of recognizable vantage points are interwoven with abstracted visions of those same locations from the previous summer, fall and winter. This portrayal of transitioning times of year is seen in a video projection of trees with leaves turning color and in translucent still photographs of the garden’s varying flora adhered to the panes of the Sunroom windows. In Neubauer’s installation, each of the four arched windows depicts a particular season. Neubauer also manipulates sunlight, reflecting, dispersing and projecting it across the room and creating a representation of the earth’s rotation as the sun moves through the sky. In effect, the Sunroom is transformed into a panoramic theater in which daily timelines and seasonal shifts are compressed into a singular, yet multidimensional encounter.
Looking Up, Out and Away, 2014, multi-media installation, dimensions variable. Courtesy of the artist.
Winter Workspace Program
Glyndor Gallery | February 19–March 31, 2014
Nocturne II (Road to Ice Pond), 2013, dual-sided projection screen, mirrored spheres, four point-sources of light, antique window frame, arranged branches and rigging, dimensions variable. Courtesy of the artist.
Brandon Neubauer’s work is drawn from his experience of the landscape as temporal layers in which the natural and built environments overlap, ideologies conflict and the identity of a place is inscribed. Incorporating video projection, photographs and recorded sound, the artist creates a portrait of a site by engaging time, optical phenomena, topography and found objects.
The Arts at Wave Hill are supported by the Lily Auchincloss Foundation, Inc.; Michael J. Shannon; Milton and Sally Avery Arts Foundation; the National Endowment for the Arts; New York City Department of Cultural Affairs; New York Community Trust Edward and Sally Van Lier Fund; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; The Pollock-Krasner Foundation; The Shelley & Donald Rubin Foundation; and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.