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Aran Cravey Gallery is pleased to present\, when we are at sea in the evidence\, a solo exhibition of dr awings by Tara Geer.

What does it mean to have a visual experience? ‘Seeing’ is no t a passive occurrence - to see an object or facial expression is an active experience.  It is at once an act of cognition and visual exposure\; we re cognize\, identify\, and conceptualize. For Tara Geer\, the act of drawing becomes a way to see the world\, and in her works\, deconstruction becomes a strategy to expose the comfort of recognition. Every instance of seeing i s manifested through the lens of our experiences\; to see is to make intent ional connections between what is in front of us now and instances in the p ast. Thus\, in her works a division takes place between our visual experien ce with the abstract flurry of charcoal\, chalk and pencils and the title\, implicating what the viewer observes on the paper is a documentation of so mething found in the tactile realm.

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The twelve works exhibited for this show materialize through the medium of drawing\; chalk\, charcoal\, pastels \, pencils and erasers on paper. There has been a notable return to abstrac tion in painting\; these works attempt to negotiate the practice of paintin g itself rather than the experience of a painting itself. Geer’s resolution in limiting her palette through the use of drawing materials allow the wor ks to disembark from a discussion on abstraction as it is expressed in pain ting. Despite being abstract\, the viewer does not have a purely optical ex perience with the works. Through our struggle for recognition we are pushed to reflect on our own engagement with visuality in the day to day.< /p>\n

 As a drawing instructor\, Geer’s philosophy on how one learns to draw is inter twined with her idea of seeing. Geer explains\, “The hardest thing about dr awing is nothing technical in your hand\; the hardest thing about drawing i s looking.” It follows that interacting with Geer’s drawings is itself a vi sual exercise. We question the process with which we recognize things\, wha t happens when we look at a recognizable object for an extended period of t ime\, until the individual aspects which made the object whole and percepti ble fall apart into their own visual entities. What happens here is curious \; words become a useless descriptive tool.


Tara Geer (b.1970) was born in B oston\, Massachusetts and received her BA from Columbia University with a d ouble major in Art and Art History\, graduating Magna Cum Laude &\; Phi Beta Kappa\, as well as an MFA with a teaching fellowship from Columbia Uni versity School of the Arts. She received the Loius Sudler Prize for excelle nce in the Arts and the Joan Sovern prize.  Currently\, she is an Adjunct A ssistant Professor in the Department of Visual Arts at Columbia and in Art &\; Art education at Teachers College. Geer also trains teachers and sta ff in Visual Thinking Strategies at the Brooklyn Museum\, El Museo \, and the Joan Mitchell Foundation among others.  She has worked at WNYC\, the NY public radio station\, writing and producing culture pieces for  “M orning Edition\,” “Studio 360\,” Leonard Lopate and other national radio sh ows.  Her work has been covered in publications such as the New York Times and has been included in exhibitions and collections throughout the US and France.  

DTEND:20130331 DTSTAMP:20141025T163051 DTSTART:20130126 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255592 END:VEVENT BEGIN:VEVENT DTEND:20130126T200000 DTSTAMP:20141025T163051 DTSTART:20130126T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255593 END:VEVENT END:VCALENDAR