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Text by John Giorno, Suzanne Hudson, Ajay Kurian, Ross Simonini, Michael Taussig.
“Dash combines sometimes unruly elements in highly controlled processes that nonetheless allow for the operation of chance.” –Artforum
This monograph is the first comprehensive overview of the work of N. Dash (born 1980), exploring the paintings, drawings and photography of this New York– and New Mexico–based American artist. N. Dash uses natural and manmade materials such as earth, pigments, graphite, fabric, string and found objects to construct conscious and intuitive abstractions, which draw on bodily movements and energy meridians, ecological systems, and other subtle or intangible structures. This volume includes major works from 2011 to 2021, and essays by Suzanne Hudson, Michael Taussig and others, with a poem by John Giorno, which explore Dash's work in art historical, anthropological and environmental contexts.
N. Dash studied at New York University and Columbia University. Selected solo exhibitions have been held at venues including the Hammer Museum, Los Angeles, CA; the Aldrich Contemporary Art Museum, Ridgefield, CT; and White Flag Projects, St. Louis, MO. Dash has been featured in group exhibitions at San Francisco Museum of Modern Art, CA; S.M.A.K. Ghent; Sammlung Goetz, Munich; the Art Gallery of New South Wales, Sydney; Berkeley Art Museum and Pacific Film Archive, CA; the Jewish Museum, New York; and Palazzo Strozzi, Florence. In 2022, Dash will have a solo exhibition at S.M.A.K. Ghent.
"Untitled" (2019) is reproduced from 'N. Dash.'
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FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 1/18/2022
"Untitled" (2016) is reproduced from N. Dash, the first comprehensive overview of the rising NYC- and New Mexico-based artist's work, spanning painting, drawing and photography, at scales large and very small. "The work of N. Dash insists on quiet," Ajay Kurian writes. "The paintings are restrained and forceful, made of both very old materials and new ones: pigment, jute, linen, adobe and string, as well as silkscreen ink, acrylic and styrofoam. They are often in multiple parts, all in deep relation to one another—wrapped, draped, tacked or adjacent. Their details are very precise: a line made by peeling away a string embedded in adobe, a pencil mark on the wall, bolts of canvas dense with paint. The adobe appears almost like cracking suede; the diffusion of pigment looks as if it's the result of some unknown autopoiesis rather than human manufacture. The works are as much formed as they are made—by site, history, by the tempos of their materiality, as slow as the mud, as quick as the glint of graphite. Materials take time to unfold, and it takes time to properly listen. The works are hushed, as if shrouded in their materiality, giving them a stillness that seems almost between life and death." continue to blog