https://zakkitnick.com ZAK KITNICK Tue, 16 Apr 2019 20:13:50 +0000 https://zakkitnick.com en https://zakkitnick.com/ZKITNICK-GMAIL-COM Wed, 07 Nov 2018 16:42:51 +0000 ZAK KITNICK https://zakkitnick.com/ZKITNICK-GMAIL-COM ZKITNICK@GMAIL.COM https://zakkitnick.com/BIOGRAPHY-CV Thu, 08 Nov 2018 15:52:56 +0000 ZAK KITNICK https://zakkitnick.com/BIOGRAPHY-CV BIOGRAPHY/ CV Born in 1984 in Los Angeles, CA, USA Lives and works in Brooklyn, NY, USA EDUCATION 2015 MFA Milton Avery Graduate School of the Arts, Annandale-On-Hudson, New York, USA 2006 BA Bard College, Annandale-On-Hudson, New York, USA PUBLIC COLLECTIONS The Whitney Museum of American Art, New York, USA Institute of Contemporary Art, Miami, USAMAMCO, Geneva, CHCollezione Giancarlo e Danna Olgiati, Lugano, CHRISD Museum,&nbsp;Providence, RI, USA Baltimore Museum of Art, Baltimore, MD, USA SOLO AND TWO-PERSON EXHIBITIONS&nbsp; 2022 THE WEATHER, CLEARING, New York, USA 2021 SHAPES, Nino Mier, Los Angeles, USA 2020 THE 6 SEASONS, C L E A R I N G, Online Zak Kitnick, a door, a table, Malraux Place, New York, USA 2019 12 GRAPES,&nbsp;C L E A R I N G, Brussels, BE 2018 HEA: Pattern Fetish, with Jacques Villon,&nbsp;Ramiken, New York, NY Doubles, C L E A R I N G Upper East Side, New York, USA Craftsman by Sears at Kmart, Ribordy Contemporary, Genève, CH FRONT TRIENNIAL, with Kyle Thurman, Cleveland, USA 2017Zak Kitnick, The Suburban, Milwaukee Riverwest, USA C L E A R I N G solo booth at LISTE, Basel, CH Zak Kitnick and Kyle Thurman, Parapet Real Humans, St. Louis, USA 2016C &amp; D, C L E A R I N G Brooklyn, New York, USA History of Nothing, with Eduardo Paolozzi, White Cube Gallery, London, UK Lime in a Coconut, curated by Piper Marshall, Mary Boone Gallery, New York, USA 2015Anne-Sophie Berger – Zak Kitnick, ANDNOW, Dallas, USA Ken Burns Effect, Ribordy Contemporary, Genève, CH People, Process, Product, Rowhouse Project, Baltimore, USA Peace, C L E A R I N G, Brussels, BE Zak Kitnick, White Flag Library, White Flag Projects, St. Louis, USA 2013Zak Kitnick, Off Vendome, Düsseldorf, DE Zak Kitnick, Ribordy Contemporary, Geneva, CH Zak Kitnick, Clifton Benevento, New York, USA 2012 Three Men and a Maybe, with Polly Apfelbaum, D’Amelio Gallery, New York, USA 2011Zak Kitnick, VAVA, Milan, ITZak Kitnick and Valerie Snobeck, curated by Maxwell Graham, Shane Campbell, Chicago, USA Zak Kitnick, Clifton Benevento, New York, USA 2010Zak Kitnick, Landings Project Space, Vestfossen, NOZak Kitnick STAMPS and Erik Lindman PHOTOGRAPHS, West Street Gallery, New York, USA Zak Kitnick / Fredrik Værslev, curated by Geir Haraldseth, Johan Berggren Gallery, Malmö, SE 2009Murphy Beds, Southfirst Gallery, Brooklyn, USA 2008Ode to Joy, Cleopatra’s, Brooklyn, USA Group exhibitions 2021 Downtown 2120, La Mama Galleria, Curated by Sam Gordon, New York, NY 2020 The Secret Life of Lobsters, C L E A R I N G, Knokke, BE Still Life, C L E A R I N G, New York, USA 2019 Horology, Jack Hanley Gallery, New York, USA Dog Days, C L E A R I N G, New York, USA 2018This is a Pipe: Realism and the Found Object in Contemporary Art, Shane Campbell Gallery, Chicago, USA 2017Tuer la Marionette, curated by Clément Delépine, CACBM, Paris, FR C L E A R I N G booth with Loïc Raguénès at Independent New York 2016Two-Story, C L E A R I N G, Brussels, BE Fritto Misto, C L E A R I N G, New York, USA 2015Cookie Gate, Ellis King, Dublin, IE The Gentle Way: JUDO, Clifton Benevento, New York, USAThe Subjects of the Artist, Michael Thibault Gallery, Los Angeles, USA 2014173 E 94th St. / Chaussée de Waterloo 550, PauL Kasmin Gallery, Middlemarch, Brussels, BE To do as one would, David Zwirner, New York, USA Graham Durward, Heather Guertin, Zak Kitnick, Lucien Terras, New York, USA Memory Palaces, Carlier / Gebauer, Berlin, DE Taster’s Choice, MoMA PS1, Long Island City, New York, USAImperfect Surfaces, Dieu Donné, New York, USA 2013A Wand Stirs the Juice, C L E A R I N G, Brussels, BE Garage Show, JTT / Rachel Uffner, New York, USACorrespondences: Ad Reinhardt at 100, TEMP Art Space, New York, USANew York, Untitled / Zach Feuer, USAGroup Show, 247365, Brooklyn, USAIt-Thou, Michael Thibault Gallery, Los Angeles, USASnout to Tail, Anna-Sophie Berger, Zak Kitnick, Sean Paul, curated by Zak Kitnick, JTT, New York, USA 2012Steel Life, curated by Zak Kitnick, Michael Benevento, Los Angeles, USA WHY DO BIRDS SUDDENLY APPEAR?, Volker Bradtke, Düsseldorf, DE Group Show, West Street Gallery, New York, USA Someone Has Stolen Our Tent, Simon Preston Gallery, New York, USA Straight Up, Family Business, New York, USA Ruins in Reverse, Room East, New York, USA 2011To Follow, C L E A R I N G, New York, USAHeads With Tails, Harris Lieberman, Brooklyn USAProductive Steps, Mount Tremper Arts, Mount Tremper, USAKenji Fujita, Zak Kitnick, Sam Pulitzer: Live at the Acropolis, The Company, Los Angeles , USA Waiting Ground, curated by Heather Rowe and Tommy White, Kate Werble, New York, USA Tax Day News &amp; Smoke, The Emily Harvey Foundation, New York, USANot the Way You Remembered, Queens Museum of Art, New York, USAProposal for a Floor, curated by Alex Gartenfeld, 1500 Broadway, New York, USAThe Balloon, Southfirst Gallery, Brooklyn, USAOffset Summary, Rachel Uffner, New York, USA 2010Zak Kitnick STAMPS and Erik Lindman PHOTOGRAPHS, West Street Gallery, New York, USA Offset Summary, Rachel Uffner Gallery, New York, USAThe Every Other Day, Ideo Box, Miami, USALast Minute Intervention, Shoshana Wayne 2, Los Angeles, USA One Man’s Mess Is Another Man’s Masterpiece, Bugada &amp; Cargnel, Paris, FRZak Kitnick / Fredrik Værslev, curated by Geir Haraldseth, Johan Berggren Gallery, Malmö, SE Visionairies, Santa Barbara Contemporary Arts Forum, Santa Barbara, USA 2009EAF 09, Socrates Sculpture Park, Queens, USALa Panique du Noyau, l’Ecole Supérieure des Beaux-Arts de Brest, Brest, FR Between Spaces, P.S. 1, Queens, USATrade Secrets, John Connelly Presents, New York, USAGood Vibrations, Carol Bove, Brooklyn, USASpeculative Frontier, Light Industry, Brooklyn, USAIf The Dogs Are Barking, Artists Space, New York, USAChanging Light Bulbs In Thin Air, Hessel Museum, Annandale, USAIt Ain’t Fair, OHWOW, Miami, USAShowroom, Johan Berggren Gallery, Malmö, SE 2008Salad Days, Artists Space, New York, USAAlone/ Together, Talman+Monroe, Brooklyn, USAI Want a Little Sugar in My Bowl, Asia Song Society, USAO Natural, 400 Morgan, Brooklyn, USA 2007Ask, ASK, Kingston, USACoprolalia, UBS, Bard Exhibition Center, Red Hook, USA TEACHING 2018 Visiting Artist, Barnard, New York 2017 Visiting Artist, MIAD, Milwaukee 2011 Visiting Artist, SAIC, Chicago 2010 Visting Artist,&nbsp;Otis, Los Angeles https://zakkitnick.com/BIBLIOGRAPHY-PRESS Thu, 08 Nov 2018 17:09:17 +0000 ZAK KITNICK https://zakkitnick.com/BIBLIOGRAPHY-PRESS BIBLIOGRAPHY/ PRESS 2021 Holland Cotter, “Art Gallery Shows to See Right Now: Downtown 2021,” New York Times, February 3, 2021 Andrea K. Scott, “Downtown 2021,” The New Yorker, January 4, 2021 Andrew Russeth, “The Kicker,” ARTnews, January 13, 2021 2020 Nate Freeman, A Roll of the Online Dice,” ArtNet News, April 17, 2020 2018 Jessica Lynne, “Zak Kitnick: 30 under 35,” &nbsp;Cultured Magazine online and in print 2018 Michelle Grabner, “Front International: Cleveland Triennial for Contemporary Art / An American City” Volume 1 Cleveland Museum of Art Press Michelle Grabner, “Front International: Cleveland Triennial for Contemporary Art / An American City” Volume 2, Interview with Kyle Thurman, Cleveland Museum of Art Press Lucie Fontaine, “Rowhouse Project,” Hassla 2017 Katherine McMahon, “Visits with the Artists,” ARTNEWS, March 2 2015 Roberta Smith, “15 group Shows Not to Miss: The Gentle Way (Judo),” New York Times, January 29, 2015 Mitch Speed, “Reviews: Zak Kitnick, Clearing, Brussels, Belgium,” Frieze, August 19&nbsp; Phil Taylor, “Zak Kitnick,” Artforum&nbsp;online, May 19 Mostafa Heddaya, “Around the World in 10 Booths at Frieze New York,”&nbsp;BlouinArtinfo&nbsp;Online, May 14 Anneliese Cooper, “EVOO Abounds at Frieze,”&nbsp;BlouinArtinfo&nbsp;Online, May 14 Alex Greenberger, “Zak Kitnick and D’ette&nbsp;Nogel&nbsp;Bring Pure Olive Oil to Frieze”, &nbsp;ArtNews, May 13 Alex Bacon, “‘The Best Art is No Art (or Non-Art)’ – Zak Kitnick’s&nbsp;Hamilton Beach Series,” Intermission Magazine, Spring, p76-81 Jennifer Piejko, “The Gentle Way (JUDO) at Clifton Benevento, Flashartonline.com, March 2014 “The Gentle &nbsp;Way&nbsp;(JUDO)”, Mousse, December/ January Dan Rubinstein, “In Miami, Bally Builds a House By Jean Prouvé,”&nbsp;T Magazine,&nbsp;December 3 Kevin McGarry, “Art Basel Beach’s Not-To-Be-Missed Parties and Events,” New York Times, November 28 Jonathan Griffin, “Paramount Ranch,” Art Agenda, February 12 2013 Michael Wilson, “Zak Kitnick, Clifton Benevento,” Artforum, September,&nbsp;Vol&nbsp;52, p413 Bianca Stoppini, “Meet Brooklyn-based artist Zak Kitnick,” Kaleidoscope online, June 10 Tina Rivers, “Zak Kitnick, Clifton Benevento,” Artforum.com, May 10 Nana Asfour, “Zak Kitnick, Clifton Benevento,” Time Out New York, Issue 905, May 2-8, p34 “Zak Kitnick, Clifton Benevento,” Cura&nbsp;Magazine online, April 10 Andrew Russeth, “New York Artists Now,”&nbsp;Gallerist&nbsp;NY, February 23 Susan Michaels, Fair Weather in Los Angeles: Making the Rounds at Art L.A. Contemporary,” Gallerist&nbsp;NY, January 28 Andrew Russeth, “‘Snout to Tail’ at JTT,”&nbsp;Gallerist&nbsp;NY, January 22 2012 Andrew Russeth, “The Season Begins: Scrappy Expansion, Autopilot Art and New Avant-Garde,” Galleristny.com, September 11 Martin Syms, “Top 10 Summer Shows – Rank 1: ‘Steel Life’ at Michael Benevento, Los Angeles,” Kaleidoscope online, August 14 Kevin McGarry, “Steel Life,” Art Agenda, July 20 Geoff Tuck, “Steel Life, organized by Zak Kitnick,” Notes on Looking, July 3 Catherine Wagely, “Steel Life,” L.A. Weekly, June 28 2011 Ara H.&nbsp;Merjian, “Zak Kitnick, Clifton Benevento, New York,”&nbsp;Artforum&nbsp;(online), October 2011 “Zak Kitnick, Clifton Benevento, New York,” Mousse Magazine, Issue 30, October/November, p223/224 Aia Staff, “The Lookout: A Weekly Guide to Shows You Won’t Want to Miss,”,&nbsp;Art in America (online), September 22 “Zak Kitnick at Clifton Benevento – New York,” Mousse Magazine (online), September 20 Andrew Russeth, “Harvest Moon at 425&nbsp;Oceanview&nbsp;Avenue, Brighton Beach,” 16 Miles of String, September 20 Andrew Russeth, “”Productive Steps” at Mount&nbsp;Tremper&nbsp;Arts,” 16 Miles of String, September 5 “Mallory Rice, “Uncommon Projects,” Nylon Guys Magazine, July, p31 “Offset Summary,” The New Yorker, January 16 Jonah Wolf, “Meet Brooklyn Sculptor Zak Kitnick,” The Huffington Post, February 11 Amelia Ishmael, “What We Have in Common, Zak Kitnick, Valerie Snoebeck,”&nbsp;Artslant, May 30 2010 Jonah Wolf, “Zak Kitnick. In the studio with the up-and coming Brooklyn sculptor”.&nbsp;Papermag.com. July 16, 2010. Geir Haraldseth, “Zak Kitnick”.&nbsp;Landings. January 21, 2010.&nbsp;p.73-81. 2009 Alex Gartenfeld, “Out-of-Site; Young Art in Miami,” Art in America, January 12 John Beeson, “Between Spaces at PS1,” Bomb, November 6 Stephen Squibb, “Fall at PS1,” Idiom, October 26 Alice Gregory, “EAF at Socrates,” Idiom, October 1 Emily Nathan, “Interview with Summer Guthery&nbsp;and Zak Kitnick,”&nbsp;ArtSlant, May 16 Massimiliano Gioni; Laura&nbsp;Hoptman; Lauren Cornell, “Younger than Jesus: The Artist Directory,”&nbsp;Phaidon&nbsp;Press, May 2008 Fan Zhong, “What’s the Polish Word for Art?,” Interview, December 17 Amy Owen, “Marginal Utility,” Salad Days at Artists Space, July 9 https://zakkitnick.com/2018-11-01-DOUBLES Wed, 07 Nov 2018 15:13:08 +0000 ZAK KITNICK https://zakkitnick.com/2018-11-01-DOUBLES 2018/11/01 DOUBLES @ CLEARING <img width="3673" height="4800" width_o="3673" height_o="4800" data-src="https://freight.cargo.site/t/original/i/f1b05c521cccc19aa7728d8bc05f0a1e2e89bea88da988af9a2f56b527a36e5e/_SP_0629-Edit-large.jpg" data-mid="27960544" border="0" src="https://freight.cargo.site/w/1000/i/f1b05c521cccc19aa7728d8bc05f0a1e2e89bea88da988af9a2f56b527a36e5e/_SP_0629-Edit-large.jpg" /> <img width="3748" height="4800" width_o="3748" height_o="4800" data-src="https://freight.cargo.site/t/original/i/83b5618bd3bbdd47371831466dd7504bc9dae08da274a6e5be6076d264ee4217/_SP_0617-Edit-large.jpg" data-mid="27960545" border="0" src="https://freight.cargo.site/w/1000/i/83b5618bd3bbdd47371831466dd7504bc9dae08da274a6e5be6076d264ee4217/_SP_0617-Edit-large.jpg" /> <img width="3634" height="4800" width_o="3634" height_o="4800" data-src="https://freight.cargo.site/t/original/i/c9d9ff6b69b5e0225fd26c348d7d58f1cbde53ef0936d27ec28fd36ee5d8c18e/_SP_0708-large.jpg" data-mid="27960548" border="0" src="https://freight.cargo.site/w/1000/i/c9d9ff6b69b5e0225fd26c348d7d58f1cbde53ef0936d27ec28fd36ee5d8c18e/_SP_0708-large.jpg" /> DOUBLES C L E A R I N G Upper East Side November 1 - December 22, 2018 Zak Kitnick’s exhibition – titled DOUBLES – introduces a series of paintings devised from the principles of backgammon, one of the world’s oldest games. DOUBLES frames the medium of painting within the context of Kitnick’s broader work, which crosses categories of art, decoration and utility to isolate their shared properties. Put differently, Kitnick’s work unthreads the DNA of aesthetic objects. Using the backgammon pattern as a repeated motif in works of identical geometry, Kitnick’s paintings develop the seriality often characterizing the artist’s sculptures. In an art historical sense, Kitnick’s work takes up questions asked by various lineages of Conceptual Art, as in the example of Daniel Buren: What are the minimum requirements to establish a sense of authorship? Or, in Duchamp’s case: Why play the game of art when you can play an actual game, like chess? DOUBLES makes reference to another circular game, baseball. Asserting an affinity between the two, the works in DOUBLES are titled from baseball phrases. Baseball, like backgammon, begins and ends at “home”, and the uniformity and repetition of the game’s cycle is broken up by infinite variations of play and possibility, and yet the direction is fixed, inevitable, playing out like the circle of life. Kitnick’s paintings use variations of a four-color pattern to echo these cyclical repetitions in a poignant modality of decorative and minimal color palettes, while also paying homage to Hard-edge and Op Art Painting movements. The artist has requested works on view rotate as the show unfolds, lending the exhibition a sense of mobility. Powder coated steel table structures have been produced to the artist’s specifications, consisting of standard table legs and frames built to receive interchangeable framed paintings. Such a modular configuration allows the paintings to become playable backgammon boards, while also enabling Kitnick’s paintings to move through their own life-cycle, marked by function, abstraction and the final stage, decoration. In a nod to Martin Kippenberger’s 1987 work Model Interconti, which assembled a coffee-table with a Gerhard Richter painting, DOUBLES also questions the value distinction assigned to different classes of authored objects. Visitors are welcome to play backgammon on the tables in the gallery. https://zakkitnick.com/2019-04-23-12-GRAPES Tue, 16 Apr 2019 20:13:50 +0000 ZAK KITNICK https://zakkitnick.com/2019-04-23-12-GRAPES 2019/04/24 12 GRAPES @ CLEARING BRUSSELS <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/a9007181929279076aec264f708c2b911775e2e2ebd926a66a3b281b653649f5/zk_0001.jpg" data-mid="43588142" border="0" src="https://freight.cargo.site/w/960/i/a9007181929279076aec264f708c2b911775e2e2ebd926a66a3b281b653649f5/zk_0001.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/7b773c30d8369c730acd76864b46c6045ec85e8e801962c6aa7529bd548f4e30/zk_0002.jpg" data-mid="43588143" border="0" src="https://freight.cargo.site/w/960/i/7b773c30d8369c730acd76864b46c6045ec85e8e801962c6aa7529bd548f4e30/zk_0002.jpg" /> <img width="960" height="681" width_o="960" height_o="681" 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width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/571e38d85a1479a1113f212a90f087afc7d5d016f49eb792cf3b3e01fae351ea/zk_0020.jpg" data-mid="43588162" border="0" src="https://freight.cargo.site/w/960/i/571e38d85a1479a1113f212a90f087afc7d5d016f49eb792cf3b3e01fae351ea/zk_0020.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/4d09bf41776c1a247e72d78f2186f4b686d5f472a7383b3d958e406e95c858c3/zk_0021.jpg" data-mid="43588164" border="0" src="https://freight.cargo.site/w/960/i/4d09bf41776c1a247e72d78f2186f4b686d5f472a7383b3d958e406e95c858c3/zk_0021.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/804685008958a3199d880b946d9cb058300da96aafe79066cc6d66581bd28013/zk_0022.jpg" data-mid="43588165" border="0" src="https://freight.cargo.site/w/960/i/804685008958a3199d880b946d9cb058300da96aafe79066cc6d66581bd28013/zk_0022.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/d3c465472cfee95d4ed17d47ca5d3f1f11de053411b0de613fdb1ea144acc225/zk_0023.jpg" data-mid="43588166" border="0" src="https://freight.cargo.site/w/960/i/d3c465472cfee95d4ed17d47ca5d3f1f11de053411b0de613fdb1ea144acc225/zk_0023.jpg" /> <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/99c786feb11a6dec2caa78ea57b91572ac94d14df5c478d4fe2e4347209a64b8/zk_0024.jpg" data-mid="43588168" border="0" src="https://freight.cargo.site/w/960/i/99c786feb11a6dec2caa78ea57b91572ac94d14df5c478d4fe2e4347209a64b8/zk_0024.jpg" /> <img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/c6f2e290dea034aa5e770eee5331cde5735f7f715a69a3a8b47b7cd509069ebd/zk_0025.jpg" data-mid="43588169" border="0" src="https://freight.cargo.site/w/960/i/c6f2e290dea034aa5e770eee5331cde5735f7f715a69a3a8b47b7cd509069ebd/zk_0025.jpg" /> <img width="960" height="517" width_o="960" height_o="517" data-src="https://freight.cargo.site/t/original/i/14dc030c572de55cd48d3843cf53ed36973811e8f245d0fb27b21b8e83483b83/zk_0026.jpg" data-mid="43588171" border="0" src="https://freight.cargo.site/w/960/i/14dc030c572de55cd48d3843cf53ed36973811e8f245d0fb27b21b8e83483b83/zk_0026.jpg" /> CLEARING is pleased to present&nbsp;12 GRAPES, an exhibition of new works by Zak Kitnick. This exhibition introduces Kitnick’s latest iteration of works employing the pattern of a common backgammon board, which the artist premiered last year in an exhibition of paintings at CLEARING New York. 12 GRAPES&nbsp;presents a shift in material, creating a series of works cut from bronze, brass, copper, aluminum and steel plates. These elements define the points, background, and bar of the backgammon board. These marquetries are paired with welded steel tables and aluminum wall cleats. Highlighting Kitnick’s ongoing investigation into the overlap of art, decor and utility, all of the works can either be hung on the wall or inlaid in the tables and used as backgammon boards. Kitnick’s earliest research into the overlap of art, decor and utility traces back to an exhibition at MoMA PS1 in 2009, titled&nbsp;Between Spaces, in which Kitnick configured a found vinyl floor tile in three states: flat on the ground, remade in metal leaning between the wall and floor, and remade hanging on the wall. &nbsp;Recalling this early display, the works in 12 GRAPES likewise rotate from verticle to horizontal and back again, posing a similar question: How do we distinguish art from functional or decorative objects? Another work, also titled 12 Grapes, presents a calendrical, clock-like visualization of the seasons, sequenced by months of the year. The continuous nature of the seasons is evoked as a parallel theme of the exhibition, presented as another “life cycle” Kitnick sees reflected in the game of backgammon. The exhibition implements this cyclical concept in its modular presentation, wherein art objects rotate through different states of meaning depending on their installation and use. Embracing the tradition of the Readymade, the shifting status of the works is also reflected in their patina, which will change indeterminately as the works are played. Visitors are welcome to play backgammon on the tables in the gallery. https://zakkitnick.com/2018-09-04-INTERIORS Wed, 07 Nov 2018 15:13:08 +0000 ZAK KITNICK https://zakkitnick.com/2018-09-04-INTERIORS 2018/09/04 INTERIORS @ AD <img width="2480" height="1860" width_o="2480" height_o="1860" data-src="https://freight.cargo.site/t/original/i/28f63eb2102b441a89c1ada40f68feec7a60beba30eae23e9d364458b192cf03/ns-ad-int-74_0000.jpg" data-mid="27962654" border="0" src="https://freight.cargo.site/w/1000/i/28f63eb2102b441a89c1ada40f68feec7a60beba30eae23e9d364458b192cf03/ns-ad-int-74_0000.jpg" /> <img width="2480" height="1860" width_o="2480" height_o="1860" data-src="https://freight.cargo.site/t/original/i/2ec0b0e68558ab1518f9f1c00cc74d75b192766e156ab9016a1ec5086ba99b34/ns-ad-int-23_0000.jpg" data-mid="27962655" border="0" src="https://freight.cargo.site/w/1000/i/2ec0b0e68558ab1518f9f1c00cc74d75b192766e156ab9016a1ec5086ba99b34/ns-ad-int-23_0000.jpg" /> <img width="3543" height="4724" width_o="3543" height_o="4724" data-src="https://freight.cargo.site/t/original/i/78785b81c87529371e3ca9ba3dfab576305ab1bbf1dc7bac54e0913f19b14b93/Annik-Wetter_2018-01-12_10164.jpg" data-mid="27962682" border="0" src="https://freight.cargo.site/w/1000/i/78785b81c87529371e3ca9ba3dfab576305ab1bbf1dc7bac54e0913f19b14b93/Annik-Wetter_2018-01-12_10164.jpg" /> https://zakkitnick.com/2018-07-13-FRONT Wed, 07 Nov 2018 17:02:28 +0000 ZAK KITNICK https://zakkitnick.com/2018-07-13-FRONT 2018/07/13 FRONT INTERNATIONAL @ CLEVELAND TRIENNIAL W/ THURMAN <img width="4198" height="2732" width_o="4198" height_o="2732" data-src="https://freight.cargo.site/t/original/i/c1355c4076aadf67267eb6a1553b24efcbd6d25d901b1b65df70343bef4efefd/tosy_screenshot_001.png" data-mid="27971248" border="0" src="https://freight.cargo.site/w/1000/i/c1355c4076aadf67267eb6a1553b24efcbd6d25d901b1b65df70343bef4efefd/tosy_screenshot_001.png" /> a club ONLINE VERSION 1 (Tosy) http://kitnickthurman.com In the work of Kitnick Thurman, ideas of time and timelessness along with place and placelessness collide while questioning notions of production and consumption. In the approximately six-minute long video loop, a club ONLINE VERSION 1 (Tosy), a robotic toy dances across the frame to the Daft Punk song Get Lucky in a single shot while 360 images flash in the background – one per second. Considering the notion of sleep versus non-sleep, the images are mostly nightclub interiors culled from the internet. The work points to the anywhere/anytime potential of the internet, a place of constant production and extreme consumption. Framing consumption as a necessary form of production in a capitalist society, and looking at the nightclub as a space where evening transitions to morning, the hypnotizing video loops continuously once started. The site-specific online work pulls the debris of content production into view and is produced knowing it is destined to become another defunct website. https://zakkitnick.com/2018-05-17-CRAFTSMAN-BY-SEARS Wed, 07 Nov 2018 16:07:40 +0000 ZAK KITNICK https://zakkitnick.com/2018-05-17-CRAFTSMAN-BY-SEARS 2018/05/17 CRAFTSMAN BY SEARS AT KMART @ RIBORDY <img width="4724" height="3543" width_o="4724" height_o="3543" data-src="https://freight.cargo.site/t/original/i/f1be4ae7a608833f3b31738de5fc488853427520f9a2d0fa75cb706a40bfa020/0001_instal.jpg" data-mid="27963783" border="0" src="https://freight.cargo.site/w/1000/i/f1be4ae7a608833f3b31738de5fc488853427520f9a2d0fa75cb706a40bfa020/0001_instal.jpg" /> <img width="4724" height="3543" width_o="4724" height_o="3543" data-src="https://freight.cargo.site/t/original/i/7f218e3f26f9133ed82df2fc476ac868b9ddb404866fc9bb9ea77fb11b250a5d/0002_instal.jpg" data-mid="27963793" border="0" src="https://freight.cargo.site/w/1000/i/7f218e3f26f9133ed82df2fc476ac868b9ddb404866fc9bb9ea77fb11b250a5d/0002_instal.jpg" /> <img width="4724" height="3544" width_o="4724" height_o="3544" data-src="https://freight.cargo.site/t/original/i/ee46af2a6b4fd17fdfe1a7fde92fb81aea2baf2881af5b59c07f47ec71984d0d/0006_instal.jpg" data-mid="27963814" border="0" src="https://freight.cargo.site/w/1000/i/ee46af2a6b4fd17fdfe1a7fde92fb81aea2baf2881af5b59c07f47ec71984d0d/0006_instal.jpg" /> <img width="4724" height="3544" width_o="4724" height_o="3544" data-src="https://freight.cargo.site/t/original/i/d5b69e9ec2ad7eb7da7eb8cc4b2a715c711851975047f2ce65f5b9bcb9f1e35b/0007_instal.jpg" data-mid="27963934" border="0" src="https://freight.cargo.site/w/1000/i/d5b69e9ec2ad7eb7da7eb8cc4b2a715c711851975047f2ce65f5b9bcb9f1e35b/0007_instal.jpg" /> ZAK KITNICK: Craftsman by Sears at Kmart May 17 - July 6, 2018 1886: Richard Warren Sears starts a mail order watch business called R.W Sears Watch Company in Minneapolis Minnesota 1887: The R.W Sears Watch Company relocates to Chicago Illinois 1887: The R.W Sears Watch Company publishes their first mail order catalog offering watches, diamonds, and&nbsp;jewelry 1889: Sears sells his business for $100,000 ($2.7 million today) and relocates to Iowa 1892: Richard Sears returns to Chicago and establishes a new mail order with his partner, Alvah Curtis Roebuck, operating as the A.C. Roebuck Watch Company 1893: They rename the company to Sears, Roebuck and Company and begin to diversity the offerings in their catalog 1894: The Sears catalog grows to 322 pages, featuring sewing machines, bicycles, sporting goods, automobiles, and other items 1906: Sales continue to grow rapidly, and the prosperity of the company and their vision for greater expansion leads Sears to take the company public. Sears' 1906 initial public offering marks the first major retail IPO in American financial history 1925: Sears opens its first store in Chicago Illinois 1927: Arthur Barrows, head of the Sears hardware department buys the right to use the name Craftsman from the&nbsp;Marion-Craftsman Tool Company for $500 1927: Sears creates the Kenmore brand for appliances and the Craftsman brand for tools. 1927: The Craftsman trademark is registered by Sears on May 20, 1927 1927: The first Craftsman tools are sold 1930: At this time, Craftsman tools are a hodge-podge of styles and designs. All the tools are good quality but without anything in common except for the stamped Craftsman name 1931: Arthur Barrows' successor, Tom Dunlap, upgrades the quality of the tools and adds chrome plating to them as America moves into the automobile age 1931: The Craftsman "modern era" begins. For the first time, Craftsman tools have a common design to serve as a brand identity. All of the tools with a handle have a polished raised panels stamped with the Craftsman logo, and everything has a polished chrome finish 1933: Sears debuts The Sears Christmas Catalog 1933: Sears introduces a Craftsman adjustable wrench made of vanadium steel that is 50 percent thinner, yet 20&nbsp;percent stronger than previous models 1935: Craftsman patents the method for making the Craftsman Locking Adjustable Wrench 1938: Moore Drop Forging Co. gets the contract to produce Sears Craftsman tools 1953: The Sears credit card is introduced 1964: Craftsman enters the “V” series era. Using Moore Drop Forging Co. as their primary manufacturer, tools of this period also come from a host of manufacturers including Western Forge, Wilde, Kastar (Lang), J.H. Williams, Empire, Miller’s Falls, and others. This period is widely considered to be the golden age of Craftsman production 1968: The Sears Christmas Catalog is re-christened the Wish Book 1973: Sears's new home in Chicago, The Sears Tower, becomes the tallest building in the world, replacing the World&nbsp;Trade Center in New York 1976: The 100 millionth Craftsman screwdriver rolls off the assembly line. To commemorate the occasion, the manufacture presents sears with an 8’ screwdriver for “people who think big.” 1977: The Craftsman brand celebrates its 50th&nbsp;anniversary 1981: President Jimmy Carter’s staff presents him with a Sears Craftsman woodworking set as his farewell gift 1990: Home repair and renovation expert Bob Vila and Sears team up for a nationally syndicated show, "Bob Vila's Home Again". Craftsman tools feature prominently in the construction projects, and Vila becomes the exclusive spokesperson for the Craftsman brand 1991: Sears starts the Craftsman Club customer loyalty program, one of the oldest such programs by a retailer. 1991:&nbsp;The company loses the distinction of being the nation's "top-selling retailer" to Walmart 1994: Sears sells the Sears Tower 1997: Sears offers more than 3,500 different Craftsman tools online at Sears.com 1998: The Christmas catalog website, wishbook.com, debuts, one year before Sears.com goes live 2003: Sears opens a new concept store called Sears Grand. Sears Grand stores carry everything that a regular Sears&nbsp;carries, and more. Sears Grand stores are about 175,000 to 225,000 square feet 2004: Craftsman tools comes under fire in a lawsuit accusing Sears of false advertising and consumer fraud for questionable use of the slogan "Made in the USA" 2004: Zak Kitnick&nbsp;receives an empty craftsman rolling tool chest as a birthday gift 2004: On November 17, 2004, Sears announces it is being acquired by the management of Kmart Holding Corporation for $11 billion after Kmart completes its bankruptcy. As a part of the acquisition, Kmart Holding Corporation along with Kmart is transferred to the new Sears Holdings Corporation and Sears is purchased by the new Sears Holdings. 2005: Kmart and Sears merge. Kmart and Sears come under the same ownership in March 2005 when Edward Lampert, then chairman of Kmart Holding Corp., finalizes the $12.3 billion acquisition of Sears 2006: The combined company's profits peak at $1.5 billion in 2006, then dwindle to nearly nothing by 2010. 2006: Sears sells Craftsman tools at all Kmart stores. Sears Holdings says that it will start selling its popular Craftsman tools in all 1,400 Kmart stores nationwide, more than a year after first stocking the Craftsman brand at selected Kmarts 2007: A Harris Interactive poll gives Craftsman the highest score for both "Brand Expectations" and "Trust".2008:&nbsp;Craftsman.com launches 2009: The readers of&nbsp;Popular Mechanics&nbsp;name Craftsman their favorite brand of hand tools in their Reader's Choice Awards 2010: Hand tools manufactured for Craftsman by Apex Tool Group such as ratchets, sockets, and wrenches begin to be sourced overseas (mainly in China, although some are produced in Taiwan), while tools produced for Craftsman by Western Forge such as adjustable wrenches, screwdrivers, pliers and larger mechanic tool sets remain made in the United States, although some production for these products moves to Asia 2011: Craftsman tools are available though Ace Hardware and Costco 2012: 90% sales of Craftsman products are in Sears stores and Sears-related retailers including Kmart, as well as Sears Hometown and Sears Outlet stores, which separated from Sears Holding Corp., in 2012. The other 10% of Craftsman sales are at other retailers including Ace Hardware 2013: Starting in early 2013, Craftsman tools are reported to be consistently out of stock at Sears stores leading to a shift in sales to Home Depot and Lowe’s, where people will find a greater selection of private label, high quality products. Additionally, Home Depot and Lowe's invest aggressively in their online and delivery capabilities to the Pro customer base 2015: Zak Kitnick goes to the Kmart at Astor Place in New York and buys one of each hand tool that is available. Many are out of stock 2015: Sears raises $2.7 billion by selling stores to Seritage Growth Properties, a real estate investment trust.&nbsp;At the time, Edward Lampert is not only the chief executive, but also the chairman for Seritage. The sale leads to a lawsuit, in which Sears shareholders argue that there had not been an independent, fair valuation of the properties and that there were multiple conKlicts of interest. The lawsuit is settled for $40 million 2016: Analysts at Moody’s estimate that the company’s negative cash flow for its 2016 fiscal year will be $1.5 billion 2016: During this period, the company announces that it will close 150 stores (109 Kmart and 41 Sears outlets), in an attempt to cut its losses after a decline in sales of 13 percent during the holiday shopping season and the largest quarterly loss since 2013 2017: Under CEO Edward Lampert, who is also a hedge fund manager, Sears consistently lags behind its peer with analysts pointing to underinvestment in stores and slumping sales 2017: On January 4, 2017 Sears announces a $500 million loan from CEO Edward Lampert's hedge fund. 2017: On January 5, 2017, Stanley Black &amp; Decker announces its intent to acquire the Craftsman brand in a deal with a total value of $900 million (with an up-front payment of $525 million, and a payment of $250 million after three years). Sears will hold a royalty-free license to the Craftsman brand for a 15-year period after the completion of the sale. Afterwards, Sears will pay Stanley Black &amp; Decker a 3% licensing fee. "Sears Holdings will continue to offer Craftsman-branded products that we source from our existing suppliers for sale at Sears, Kmart, and Sears Hometown Outlets." Craftsman, effectively has two parent owners, two manufacturing channels, and two separate retail channels 2017: In January, when the purchase is first announced, Stanley Black &amp; Decker points out that "only approximately 10% of Craftsman-branded products are sold outside of Sears Holdings and the agreement will enable Stanley Black &amp; Decker to significantly increase Craftsman sales in these untapped channels” 2017: The deal is closed on March 9, 2017. Sears sells the Craftsman brand to help offset losses as it struggles to make a turnaround 2017: After Stanley Black &amp; Decker’s purchase of Craftsman in 2017, they state all previous warranties on Craftsman products will be honored saying, “We understand the Craftsman warranties are important to existing customers and intend to honor existing warranties and offer similar warranties going forward. Craftsman branded products will continue to be covered under their existing warranties. In the immediate term, there are no changes to how you will get service regarding your warranty” 2017: Sears continues to sell Craftsman products, but Tuesday October 25th, 2017 the company announces it will quit selling Whirlpool appliances since the companies could not agree on pricing. However, Sears will continue to sell Whirlpool-produced Kenmore appliances 2017: Craftsman sues Western Forge, a long-time Craftsman manufacturer, to continue producing certain Craftsman tools after a contract between the companies was set to expire. Western Forge manufactures hand tools in the United States, and has been one of the manufacturers for the Craftsman brand for over 50 years 2017: As of October 29, 2017 Sears has $258 million in cash and equivalents on hand, compared with $3.1 billion in long-term debt. Its market value by comparison, is $1.2 billion, even with a jump in its stock price after the Craftsman news 2017: Craftsman is known for its hand tools, but its lineup contains much more. Per the Stanley Black &amp; Decker investor presentation, as of 2017, roughly 40% of Craftsman sales are lawn and garden items, and another 25% are storage and related products — toolboxes, garage door openers, and so on 2017: As of July 29, 2017, there are 619 full-size Sears stores in the United States. There are also 94 in Mexico 2018: In January 2018, Sears announces they will be close 39 Sears stores and 64 Kmart stores. These stores close by April 2018, leaving Sears Holdings with 555 stores. According to MSN money, at this rate, Sears, along with sister company Kmart, has an extremely high chance of disappearing and going defunct in 2018, estimating that 2017 will have marked its final holiday season as an independent brand 2018: Sears CEO&nbsp;Edward&nbsp;Lampert proposes to buy Kenmore.&nbsp;The proposal to acquire Kenmore and the other business units would leave the already scaled-back retailer even more diminished, leading some to question whether Mr. Lampert has been seeking to strip out the most valuable assets in the event the company files for bankruptcy. The chief executive of Sears is its largest shareholder and a major lender to the company 2018: Part of the delay in getting Craftsman tools into Lowe's hardware stores is the fact that Stanley Black &amp; Decker is shifting Craftsman production back from overseas plants to U.S. facilities. It has announced plans for a new U.S. factory to build Craftsman products at a location yet to be announced 2018: Craftsman tools produced by Stanley Black &amp; Decker go on pre-sale at Lowes hardware stores 2018: In the second half of 2018, a broad assortment of Craftsman products are available in Lowe's stores and online. Stanley Black &amp; Decker also works with Lowe's to manufacture and develop other products for the home improvement retailer, making the two underlying partners 2018: Zak Kitnick ‘reverse engineers’ the Craftsman tools he purchased in 2015, creating a metal plate mold for each tool using the same sand casting method by which the tools are originally produced. After reverse engineering the Craftsman tools made by other companies and branded as Craftsman, Kitnick colors the metal relief plates in the various colors of the tool manufacturing companies.&nbsp;Sears never manufactures Craftsman products itself, instead relying on other manufacturers to make the products for them following Craftsman designs and specifications, and applying the Craftsman brand name. Sometimes, the Craftsman branded items include exclusive features that separate them from the manufacturers own brand or other brands that the manufacturer produces. At other times, Craftsman products are identical to models of other brands with a different name on them 2020: Stanley Black &amp; Decker is expected to pay the additional $250 million at the end of the third year after closing 2032: Sears looses the right to manufacture and sell the Craftsman brand without paying a royalty 15 years after the Craftsman brand is purchased by Stanley Black &amp; Decker in 2017 https://zakkitnick.com/2017-12-15-TOSY Thu, 08 Nov 2018 15:09:32 +0000 ZAK KITNICK https://zakkitnick.com/2017-12-15-TOSY 2017/12/15 TOSY @ PARAPET W/ THURMAN <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1c83dcd7466baa8c6c42d0816364946d3ecc2c1623b4eba021bb9f1f409dfbfc/ZK_KT_PRH.jpg" data-mid="28036025" border="0" src="https://freight.cargo.site/w/1000/i/1c83dcd7466baa8c6c42d0816364946d3ecc2c1623b4eba021bb9f1f409dfbfc/ZK_KT_PRH.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ac60dc6cc6abc30a5100432734bf9d0aa2bcdc96752e19c36047cfb725744e8e/ZK5.jpg" data-mid="28036020" border="0" src="https://freight.cargo.site/w/1000/i/ac60dc6cc6abc30a5100432734bf9d0aa2bcdc96752e19c36047cfb725744e8e/ZK5.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b0b6ab995cff62860322a814f61431f60cb3aa991d4ffbd57ffcf7dfa0e93ed0/ZK2.jpg" data-mid="28036023" border="0" src="https://freight.cargo.site/w/1000/i/b0b6ab995cff62860322a814f61431f60cb3aa991d4ffbd57ffcf7dfa0e93ed0/ZK2.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/28663135a13882f4db107e9a304d36a67948928ee3f3bea455aaadd1d31c7f0f/ZK6.jpg" data-mid="28036019" border="0" src="https://freight.cargo.site/w/1000/i/28663135a13882f4db107e9a304d36a67948928ee3f3bea455aaadd1d31c7f0f/ZK6.jpg" /> https://zakkitnick.com/2017-06-12-DIALING-PATTERNS Wed, 07 Nov 2018 18:07:13 +0000 ZAK KITNICK https://zakkitnick.com/2017-06-12-DIALING-PATTERNS 2017/06/12 DIALING PATTERNS @ LISTE W/ CLEARING <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/11d81e4d98f7a9cbad24d2bf590f09d1bd5d3bf642e49d6b2317899b50773d7b/Zak-Kitnick-CLEARING_LISTE_2017_LOW-4-960x1440.jpg" data-mid="27974474" border="0" src="https://freight.cargo.site/w/960/i/11d81e4d98f7a9cbad24d2bf590f09d1bd5d3bf642e49d6b2317899b50773d7b/Zak-Kitnick-CLEARING_LISTE_2017_LOW-4-960x1440.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/e0dcc6eca517b8ced545c2cdfecca9fbc593c1d3451aabdba3ab5bb31351d2cb/Zak-Kitnick-CLEARING_LISTE_2017_LOW-3-960x1440.jpg" data-mid="27974472" border="0" src="https://freight.cargo.site/w/960/i/e0dcc6eca517b8ced545c2cdfecca9fbc593c1d3451aabdba3ab5bb31351d2cb/Zak-Kitnick-CLEARING_LISTE_2017_LOW-3-960x1440.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/6b5071fcc5393ab85bb560a82ffe9c2465b8798eb80a27a0215558593e17f94e/Zak-Kitnick-CLEARING_LISTE_2017_LOW-2-960x1440.jpg" data-mid="27974471" border="0" src="https://freight.cargo.site/w/960/i/6b5071fcc5393ab85bb560a82ffe9c2465b8798eb80a27a0215558593e17f94e/Zak-Kitnick-CLEARING_LISTE_2017_LOW-2-960x1440.jpg" /> <img width="960" height="1440" width_o="960" height_o="1440" data-src="https://freight.cargo.site/t/original/i/852010e1c077157fc6c8608d5228271356b6d181f0edc24bb9105d141fd52c7f/Zak-Kitnick-CLEARING_LISTE_2017_LOW-1-960x1440.jpg" data-mid="27974470" border="0" src="https://freight.cargo.site/w/960/i/852010e1c077157fc6c8608d5228271356b6d181f0edc24bb9105d141fd52c7f/Zak-Kitnick-CLEARING_LISTE_2017_LOW-1-960x1440.jpg" /> CLEARING is pleased to present a solo presentation at LISTE&nbsp;by New York based artist Zak Kitnick. In his work, Kitnick (b. 1984 in Los Angeles, California) deals with found patterns and designs, inverting the boundaries between art, architecture, interior design and commodity production. Exploring how these parallel worlds borrow from each other, acquiring and defusing each other’s potential, Kitnick’s work attempts to explore the tenuous boundaries between art and decor. In his work, utilitarian objects-- easy-to-use, easy-to-ignore products of daily life-- are abstracted by the systems that organize them, their structure overwhelming the subject matter. Kitnick’s sculptures look at how ‘form-follows-function’ design became a ‘style.’ For LISTE, Kitnick refers to a simple mode of communication: the invention of the standard Bell Telephone dialing pattern. Years ago Kitnick came across a document outlining the testing of 18 experimental dialing patterns to replace the rotary telephone. As the technology around the rotary telephone changed and no longer dictated a circular form, Bell was set with the task of inventing a new format. What would the future look like? Using a scientific method, measuring the interaction between man and machine, they narrowed it down to the current now universal pattern. The original&nbsp;test pattern variations became a site for the potential of a single object. For the cast aluminum sculptures presented at&nbsp;LISTE, Kitnick reimagines a set of 8 alternative patterns. In the works, dichotomies erupt—haptic/optic, image/object, art/decoration— while also questioning pivotal art historical precedents: the monochrome and the grid. The works indicate an important step in Kitnick’s practice, one that addresses a rotating set of concerns: the&nbsp;Aestheticization of Information, Information as Decoration, Decoration as Organization and Organization as&nbsp;Aestheticization. In a related series of papier maché sculptures, Kitnick continues to recruit objects of disuse; in this case, telephones. In these sculptures Kitnick, calls on personal and collective memories, the desire to be alone, and for camaraderie, the desire to unplug, disengage, and to remain active. Kitnick creates a quasi private, quasi public, quasi institutional space, somewhere between connection and alienation. Finding connections between artwork and viewer, between institution and city, between headspace and auxiliary brain, Kitnick’s works are a meditation on modern media, on how we engage with each other though objects. The phone is an object that joins the head to the hand.&nbsp; Here again, Kitnick embraces the cracks, fissures, and imperfections of both mass-produced and hand-made objects, examining objects that either lie outside our field of vision or are rendered invisible by their ubiquity. In another body of work Kitnick layers sheets of cut steel, creating negative space for light and air to travel through. The bunker-like reinforcements deal with the built environment while proceeding from the legacies of Minimalism. By again employing visual vocabulary such as the monochrome, the binary logic of positive/negative and vertical/horizontal, he imagines a play between the aesthetic and the functional. Drawing on collective fantasies surrounding war, the works are neither slick nor expressionist, they have the potential to be functional; they recall doomsday preppers. Yet through a series of cuts and layers, poetic compositions emerge that are both fluid and fragmented, that explore the divisions of interior and exterior. The cuts here are into the wall-like planes of the sculpture, problematizing the borders between art and architecture, or between autonomous and site-specific artwork. Maintaining a practice that positions sculpture in dialogue with design and architecture, Kitnick continues mapping the intersections of function and ornamentation, reminding us that being "in touch” has always been tactile.