John Sparagana Crowds & Powder

Jan. 25, 2014 - Dec. 13, 2014

Main Gallery

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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.