PULSE's signature program of large-scale sculptures and installations features work throughout the Fair. The program offers exhibitors a chance to present works that are otherwise too large to include in their booths and provides an opportunity for unrepresented artists to be featured in a major international platform. Among the artists whose sculptures and installations have been presented at past PULSE fairs are Leo Villareal, R. Luke DuBois, Paul Villinksi, Clifton Childree, Danny Baskin, and Mark Wagner.

PULSE NEW YORK 2011 PROJECTS

ASSEMBLY: Eight Emerging Photographers from Southern California, curated by Edward Robinson of the Wallis Annenberg Department of Photography at the Los Angeles County Museum of Art, Courtesy of Fred Torres Collaborations and originally commissioned by FotoFest, Houston

A preview of ASSEMBLY: Eight Emerging Photographers From Southern California will be on view at PULSE New York. ASSEMBLY features recent works by Nicole Belle, Matthew Brandt, Peter Holzhauer, Whitney Hubbs, Matt Lipps, Joey Lehman Morris, Asha Schechter, and Augusta Wood who have all emerged from the Southern California region in the last decade. Approaching the making of photo-based arts in a number of different ways, they create work that both reflects the cultural heritage of the region as well as suggests important trends in current American photographic practice. ASSEMBLY: Eight Emerging Photographers From Southern California was organized by curated by Edward Robinson of the Wallis Annenberg Department of Photography at the Los Angeles County Museum of Art, and will be on view at Fred Torres Collaborations located at 527 W. 29th Street on the third floor from March 15th through April 9, 2011. FotoFest a non-profit international arts organization based in Houston, Texas, originally commissioned this exhibition.

Craig Damrauer
Calls To Action, 2010

The world's largest, most comprehensive and extensive private collection of call-to-actions from various web advertising. In other words, the state of affairs when it comes to action in these modern times.

Craig Damrauer
Various Greetings, 2011


Molly Dilworth
Field Test (NYC), 2011
Paint on mylar, 20 x 14 in.
Courtesy of David B. Smith Gallery

Field Test (NYC) is the second in a series of site-specific paintings that use X-Ray and Electron Microscopy images of Rare-Earth elements as visual references. These materials-hidden in plain sight-power our electronic environment, running everything from mobile phones to MRI's.
Dilworth's work gives form to things that exist outside of our conscious experience. Her painting Cool Water, Hot Island which is installed on the pedestrian plazas in Times Square and Broadway, alludes to the historical geography of midtown, especially the Great Kill stream that once flowed on this site.


Oskar Schmidt
BACK PORTRAIT, 2010
Full HD Video, 4:30 min (loop)
Dimensions variable (Edition of 3)
4 Photographs, 20.1 x 15.7 in., C-Prints (Edition of 5)
Courtesy of Galerie Kleindienst, Leipzig

Oskar Schmidts (*1977 in Germany) latest work BACK PORTRAIT of 2010 consists of a full HD movie and several photographs. The film will be presented on a flat screen which is directly mounted on the wall and shows a loop of the almost picturesque back view (BACK PORTRAIT) of a young girl who moves very slow only upon closer inspection. The film oscillates between moving and still images and explores the boundaries between painting, photography and film. The corresponding photographs in contrast split the movie into photographic parts and show the rear view of the girl as a serial photographic sequence of movements in several minimally changing images. So, while the moving image of the film almost seems to freeze and try to undermine the features of the cinematic, the immobile photographic images of the work BACK PORTRAIT changing into the opposite and get in motion.


Ben Wolf
Clamber, 2011
Salvaged ship's hull, flooring, bronze, neon string, rope and mixed media assemblage, 220 x 144 x 48 in.
Courtesy of CHRISTINA RAY

Ben Wolf's site-specific installation for PULSE takes shape around an eighteen foot long ship's hull salvaged from an abandoned vessel in Newark. Wooden wall boards, scrap metal, discarded doors and other found, architectural detritus are stacked and layered into the work on a welded steel armature to create an abstract, three-dimensional collage rich in texture and curvilinear dimension. Wolf's journeys to zones of abandonment and destruction – from forgotten local shipyards to downtown Detroit to the mountains of Haiti – reveal a deep creative instinct to explore and understand on a physical level the effects of time over material. As he rescues beauty from chaos, Wolf constructs a spirited new aesthetics within a world of forgotten industrial wreckage.