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Zipora Fried, I.M.Z., Self Portrait, 2011

I.M.Z. #1, 2011 (self portrait)
Wool stitching on black and white c-print
30 by 40 inches

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Zipora Fried, Installation view at On Stellar Rays, 2011

Installation view (Zipora Fried)

Zipora Fried, December 2010 - Something you will never remember

December 2010 - Something you will never remember, 2010
Graphite on mylar
54 by 93 inches

Zipora Fried, July 2011 - Trickster

July 2011 - Trickster, 2011
Graphite on mylar
54 by 93 inches

Zipora Fried, August 2011 - I am not sure anyone is better off dead

August 2011 - I am not sure anyone is better off dead, 2011
Graphite on mylar
54 by 110 inches

Zipora Fried, January 2011 - Like nothing else

January 2011 - Like nothing else, 2011
Graphite on mylar
54 by 93 inches

Zipora Fried, Z.I.M. #1, 2011

Z.I.M. #1, 2011
Wool stitching on c-prints
30 by 78 inches

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More on Zipora Fried

Zipora Fried
Salon Noir

September 7 – October 23, 2011

Press
Modern Painters
Dan Duray for The New York Observer

For her second solo exhibition at On Stellar Rays, Zipora Fried presents new drawings and photographs, furthering her dedicated and protean drawing practice.

Densely accumulated lines dominate the artist’s drawings; a graphic language developed over the past decade that has since informed new experiments in photography and sculpture. Implicit to her extended labors has been an attempt to suspend time, to hold at bay the “seepage of fatal time, of entropy into each and every living form.”* Thusly, the persistence of the line in Fried’s work has succinctly addressed temporal chronology and the act of drawing itself. Her new body of work foregrounds a parallel concern with collective and personal histories.

A series of large black and white photographs of the artist as a child simultaneously reveal and obscure personal origins. In identical images, the artist’s facial features are materially masked by clumps of woolen thread stitched through the photographic paper. A displaced self assails both personal and archival registers.

Salon Noir exacts a compelling equivalence between drawing and photography. Partly this is a formal equivalence – monochromatic surfaces and a purposeful economy of means – but more importantly both media are subsumed into a singular field, gathered together to embody the complexities and contradictions of biographical narrative. The artist’s distrust of verbal or written language, manifest previously in her transposed diaristic drawings, resurfaces in images as psychological muteness.

The title of the show refers to the celebrated site of Paleolithic cave drawings in Niaux, France. The cavernous entry chamber is named Salon Noir for its dark setting. Fried evokes the veiled mystique of the grotto, an atavistic analogy to the subliminal threshold of artistic impulse.

Zipora Fried studied at the Academy of Applied Arts in Vienna. Recent exhibitions include Greater New York at MoMA PS1, Queens, NY (2010); Total Recall, at Public Art Fund, Metrotech Center, Brooklyn, NY (2010); Trust Me. Be Careful. at On Stellar Rays, New York, NY (2009); Text at Eighth Veil, Los Angeles, CA (2009); Creative Migration at The Austrian Cultural Forum, New York, NY (May 2009). Fried’s work is represented in a number of museum collections including the Whitney Museum of American Art, New York, NY; The Albright-Knox Art Gallery, Buffalo, NY; The Albertina Museum, Vienna, Austria; The Tel Aviv Museum of Art, Tel Aviv, Israel; Magasin 3 Stockholm Konsthall, Stockholm, Sweden; Fogg Art Museum, Cambridge, MA. Fried is also the recipient of numerous awards for her experimental films, which have been featured in festivals worldwide.

*George Steiner