February 15 – March 22, 2008
Opening Reception: Friday, February 15, 8–10 pm
Tinted Portrait II, III, VI, 2003, color ink jet print, limousine tinted glass, chrome frame
Triton Gallery, LLC is pleased to present MC Ultra, a solo exhibition by
New York-based artist Karlos Carcamo. Using a variety of media including sculpture, painting, works on paper, and photography, Carcamo creates
work that incorporates high and low cultural iconography with art historical references. Carcamo’s diverse sources range from minimalism, arte povera, and abstract expressionism, to conceptual art. MC Ultra opens February 15 and is on view through March 22, 2008. There will be an opening reception
for the artist on Friday, February 15 from 8–10pm.
In Tinted Portraits II, III, IV Carcamo turns to identity and how it’s used in urban culture as both a form of concealment and protection. Using identity
as the method of hiding individual expression, Carcamo adopts various
“thug” poses. Each portrait is then framed in limousine tinted glass and a chrome frame, adding to the menacing dark quality of the image and level
Looking for the Perfect Beat, 2006, 300 record album covers
Untitled (Kosuth 67), 2003, book page, ink and frame
Looking for the Perfect Beat is a sculptural pedestal made up of 300 stacked album covers with Afrika Bambaataa’s Looking for the Perfect Beat placed on top. The piece is an appropriate metaphor for Carcamo’s conceptual approach to making art and a personal homage to a seminal figure in the history of hip hop. (Untitled) Kosuth 67 is a humorous play on the constructed nature of language. Taking a passage written by conceptual artist Joseph Kosuth, Carcamo flips it around by tagging onto the page the authors name and year in which the piece was made, thus juxtaposing two forms of writing that raise questions of what constitutes proper writing and the parallel value placed on it by a certain subculture such as graffiti.
Wall Street Journal, 2005, newspaper, thread, metal coat hook
In Wall Street Journal Carcamo transforms the front page of The Wall Street Journal into a baseball cap. Stitched together on a sewing machine, the piece is a sly comment on the often thorny relationship between labor and business. Sedgwick is from a series of paintings that incorporate the use of graffiti as an overall process in the creation of the work. Making reference to a street corner in the Bronx, the paintings allude to the vandalized unstable ground
of painting, marked by traces of graffiti left visible on the outer margins of
Sedgwick, 2007, latex and spray paint on canvas
Karlos Carcamo's work has been exhibited in New York at PS1/MoMA, Artists Space, El Museo Del Barrio, the Brooklyn Museum of Art, the Queens Museum of Art, the Bronx Museum of the Arts, and White Box. His work has been reviewed in the New York Times, Art In America, Time Out New York, Art Asia Pacific, and Sculpture Magazine. He has been awarded numerous grants and awards including Atlantic Center for the Arts and a fellowship from the Skowhegan School of Painting and Sculpture. Carcamo is the co-director of
Go North: A Space for Contemporary Art in Beacon, New York. He will be exhibiting his work this March at PS 122 Gallery in New York.
For more information please contact Triton Gallery, LLC.
Hours: Tuesday–Friday 11–1 and 5–8 pm, Saturday 11–1 pm
Triton Gallery, LLC, 10 Ioannis Kliridis Street, Suite 301, 1070 Nicosia, Cyprus