Aaron Gemmill

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Artist Statement

Based in the overlapping social and technical procedures of photography and cartography, my work is focused on the context of the urban political spaces these disciplines produce and represent. These overarching concerns are transposed to processes as varied as bookmaking, printmaking, and site-specific installations.

I work primarily through an intentional misapplication of tools. For example, a misaligned press cracks and deforms acrylic printing plates, which creates images out of these fault lines. Nesting algorithms, employed in manufacturing systems in order to fit forms together in the most efficient possible manner, are used instead to break apart the cartographic systems of civic maps. Rather than recording or mapping, cameras are used to project and draw physical alterations to space. The resulting abstraction comes out of this willful sabotage at the site of (re)production.

CV

EDUCATION

2015
MFA, Milton Avery Graduate School of the Arts, Bard College

SELECTED EXHIBITIONS

2016
La Embajada, Mexico City (forthcoming)
Utopia Banished, Angela Meleca Gallery, Columbus OH (curated by Ryland Wharton)
O/U,   P! + Room East, New York NY
Plain Sight, Monroe-Brown Gallery Western Michigan University, Kalamazoo MI (curated by Tom McGlynn)
2015
Aaron Gemmill and Matthew Schrader: Tactile Pose, P!, New York NY
Maximum circulation maximum control, Center for Ongoing Research & Projects, Columbus OH
125 Things, Kunstraum München, Munich (curated by Justin Lieberman)
Aeromoto + Wendy’s Subway Reading Room, NADA, New York NY
Transaction, Spring/Break, New York NY (curated by Rachel Valinsky)
Flat by Fiat, L-G, Brooklyn NY
For Machine Use Only, Schneiderei Gallery, Vienna AT (curated by Mohammad Salemy)
Relief Efforts, Shoestring Press, Brooklyn NY
2014
Social Photography IV, Carriage Trade, New York NY
MFA Thesis Exhibition, Bard College, Red Hook NY.
Our Demise, 95 Ave B, New York NY
2013
Karel Martens & Aaron Gemmill, P!, NADA Miami Beach, Miami FL
Social Photography III, Carriage Trade, New York NY|
Gymnasia, 4:00 AM, Cleopatra’s Greenpoint, Brooklyn NY
Do It (Outside)/ DIY Plinth, Socrates Sculpture Park, Queens NY
2012
Possibility 02: Growth, P!, New York NY
Under the Big Blank Sun, DadabaseNYC.com
2010
Methods of Entanglement Mass Gallery & Texas Advanced Computing Center, Austin TX (in collaboration with Angie Keefer).
Object of Study/Subject of Learning, Blanton Museum, Austin TX (in collaboration with Angie Keefer, Rob Seward, Anna Craycroft).
Group Show Cracker Factory, Geneva NY

CURATORIAL PROJECTS

2016
O / U, P! / Room East, New York NY (w/ Prem Krishnamurthy and Steve Pullimood)
Daraprim, L-G/Greene & Nostrand, Brooklyn NY (w/ Lia Lowenthal)
2015
Flat by Fiat, L-G, Brooklyn, NY (w/ Lia Lowenthal)
2013
Strike Then, Strike Now, Interference Archive, Brooklyn NY (in collaboration with Blithe Riley, Laurel Ptak, Arlen Austin).

RESIDENCIES/FELLOWSHIPS

2016
La Embajada Residency, Mexico City
2014
Department Fellowship (Photography), Milton Avery Graduate School of the Arts, Bard College
2013
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2012
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PUBLICATIONS

2016
A+WS (forthcoming), Publication Studio, New York
The Kingsboro Press 9, Kingsboro Press, Los Angeles
Theme Can 2, Tampa FL
2015
The Psychoanalysis of Fire, Wendy’s Subway, New York
2014
SPACE, No, Dear Magazine Issue 14, Brooklyn
Social Photography III, Carriage Trade, New York

PRESS/BIBLIOGRAPHY

2016
Family Bodies, Induction Burner
O/U at P! and Room East, Rob Goyanes, ArtFCity, Rob Goyanes
2015
Lite Sabotage, Ryland Wharton, Center for Ongoing Research & Projects
Eating Art, Glen Roven Huffington Post
WHERE DID YOU GO FOR SPRING/BREAK, 2015?, Katy Diamond Hamer, Eyes Towards the Dove
2013
On Photocracy: Notes on Aaron Gemmill’s Recent Works and Laruelle’s concept of Non-Photography, Mohammad Salemy, DadabaseNYC
2009
Tomorrow, Now, Forever, Paddy Johnson, ArtFagCity

TALKING

2015
School of Visual Arts, New York NY (guest lecturer)
Machines That Matter, e-flux/New Centre for Research & Practice, New York NY (panelist)
2014
Incredible Machines 2014, Vancouver BC (respondent)
2010
Museum as Interface artist talk and panel discussion, Blanton Museum (presenter/moderator)
2009
Peter Fend: How far can art go? Roundtable discussion (co-organizer)

SELECTED DISCOGRAPHY

2011
Zachary Cale Noise of Welcome – All Hands Electric
2010
Rhys Chatham A Crimson Grail – Nonesuch Records
Charles Burst The Famous Patient – Ernest Jenning Records
2009
Broken Letters BBC Sessions – Bent Rail  Foundation
2008
Illuminations See-Saw – All Hands Electric
1999
v/a Mandatory Marathon 7” – Amendment Records
1998
Laceration/Agoraphobic Nosebleed split 7” – Satan’s Pimp
v/a Audio Terrorism : The Soundtrack For Weirdness and Blind Hostility 7” – ?
v/a Accidental Double Homicide 2×7” – Satan’s Pimp
Laceration/Facade Burned Black split 7” – Open Wound
Laceration/Bad Acid Trip split 7” – Agitate 96
Laceration/K. Shipley split 7” – Clean Plate Records
1997
v/a No Fate 2xCD – HG Fact
v/a A Product of Six Cents – Six Cents
v/a Deadly Encounters 7”
1996
Laceration/Avulsion split 7” – Clean Plate Records
v/a Speed Freaks 7” – Knot Music
v/a Prototype 7” – Clean Plate Records
v/a Fooling with Pain – Tylet Lyvet