John Sparagana Crowds & Powder
January 25 - December 13, 2014
Main Gallery
View
Installation view
John Sparagana
Crowds & Powder: Kennedy Brothers
2013
archival inkjet prints with oil stick, sliced and mixed, on paper
64 x 98 inches
Installation view
John Sparagana
Crowds & Powder: The Revolutionaries
2013
archival inkjet prints with oil stick, sliced and mixed, on paper
58 x 92 inches
Installation view
John Sparagana
Crowds & Powder: Times Square Crowd
2013
fatigued magazine pages with oil stick, sliced and mixed, on paper
20 x 32 inches
John Sparagana
Crowds & Powder: The Street 1
2013
fatigued magazine pages with oil stick, sliced and mixed, on paper
19 1/2 x 28 inches
John Sparagana
Crowds & Powder: Kennedy Brothers 1
2012
fatigued magazine pages with oil stick, sliced and mixed, on paper
20 x 31 3/4 inches
John Sparagana
Crowds & Powder: Same Sex
2013
fatigued magazine pages with oil stick, sliced and mixed, on paper
19 1/2 x 30 1/2 inches
John Sparagana
Crowds & Powder: Situation Room
2013
archival inkjet prints with oil stick, sliced and mixed, on paper
20 3/4 x 31 1/4 inches
Installation view
Installation view
John Sparagana
Crowds & Powder: Mercenary 2
2013
fatigued magazine pages with oil stick, sliced and mixed, on paper
20 x 31 3/4 inches
John Sparagana
Crowds & Powder: The Street (mirror)
2013
archival inkjet prints with oil stick, sliced and mixed, on paper, diptych
67 1/4 x 50 3/8 inches (left);
67 1/4 x 49 1/2 inches (right)
John Sparagana
Crowds & Powder: Tahrir Square
2013
magazine pages with oil stick, sliced and mixed, on paper
20 1/2 x 33 inches
Press Release
Corbett vs. Dempsey is pleased to announce three simultaneous solo exhibitions: Arturo Herrera, Books ; John Sparagana, Crowds & Powder ; and Jackie Saccoccio, Portraits .
Crowds & Powder represents John Sparagana’s second exhibition with Corbett vs. Dempsey, building on the momentum of 2011’s Between the Eyes , as well as recent shows in Berlin and Zürich. Deploying an intense and deliberative process of breaking down and rebuilding magazine pages, Sparagana’s incredible works require another term than “collage,” as they continue to interrogate the delivery systems of mass media. With a manual sensibility and the obsessiveness of a digital stutter, this body of works deconstructs the cold, fast read of news magazine spreads, slowing down the viewer’s scan of the image, infusing it with a painterly patina and a post apocalyptic buzz.