TEMP, a new art space in TriBeCa, announces its inaugural group exhibition, Working On It. The show explores the dynamic nature in which young adults grapple with issues such as originality and identity within a rapidly evolving socio-cultural context. Curated by Alex Ahn and Ari Lipkis, the show reflects the zeitgeist of young adulthood in the early 2010’s.

Each of the twelve artists in Working On It share work that reflects his or her personal experiences upon entering the “real world”. Artists include: EunSun Choi, Andrea DiStefano, Jack Greer, Tyler Healy, Laura Hudson, Sandy Kim, Maggie Lee, Dean Levin, Matthew Morocco, Wilson Parry, Evan Robarts, and Elspeth Walker.




In her documented performance Hide and Seek, Eunsun Choi copes with intense feelings of shyness in a world where social media encourages people to open their lives up to perfect strangers. By hiding herself behind a newspaper that includes a depiction of her own image on the front page, she is veiled from society while attempting to find a passive way of engaging with the outside world.

Viewers are invited to dissect society’s notion of individuality and the commodification of beauty in Andrea DiStefano’s interactive installation, Divide II. While looking into your own reflection within the darkened interior, you are comforted by the knowledge of seeing your own unique features. However, when a second person’s reflection comes from the other side of the mirror and melds with yours, it becomes drastically apparent how similar or disparate each individual’s features are from one another.

In Jack Greer’s felt on canvas triptych, Scrolling down another page / Waiting for the video to load / Laying in bed, each action described in the work is independent of the others yet happens concurrently; similar to the way that the canvases interact with each other. The text embodies the mundane nature in which young adults consume media and adapt to technological change. The statement is profound in its ability to impart a youthful sense of ease, impatience, and anticipation.

Over two years ago Tyler Healy began working, a digital artistic journal that is habitually updated with aesthetically hypnotizing photos. The piece allows for insight into the artistic mind of an innovative young artist and how he sees art in a variety of banal images. In this way, the work is a collection of found digital objects.

In two memoiric works, Untitled And Video Salad, Sandy Kim and Maggie Lee capture the raw and unadulterated character of present day youth culture. In Untitled, a series of 45 photographs taken from the last three years, Kim shows readily familiar scenes from Brooklyn rooftop parties, indie rock concerts, studio apartments and fire escapes that each present a candid portrait of individual emotion and intimacy. Video Salad renders the 20-something spirit through cinematic vignettes that the viewer must piece together. A unique collage of varying scenes is created that reflects how young adults compartmentalize their own worlds.

Laura Hudson’s works Art Opening 1, 2, and 3, are more than just masterful paintings. They are elevated into an installation piece that envelops you into Hudson’s world as a young artist. These paintings are a self-referential statement on how people behave with art.

Dean Levin’s So Series demonstrates the exaggerated and colloquial way in which young adults typically connect with each other. The vibrant yet delicate piece elevates the casual sensibility of contemporary culture to high art. Furthermore, the transparency of the work reflects the character of the phrases themselves.

The way in which people create multiple personalities, especially through technology, is explored in Matthew Morocco’s performance video Palimpsest. In the piece, Morocco records himself in front of a screen in short intervals. This recording is then projected on top of the next recording, creating multiple layers of self-interaction.  The individual personalities are simultaneously unique in their performance yet interact with one another. 

Wilson Parry’s work Social Circle is a spiraling series of transparent plexiglass panels with life-size paintings of hipsters, drag queens, thieves, and prostitutes in a lively and animated bar scene. The more that the viewer consumes, the more that the images appear grotesque and misshapen, questioning how we often make too quick judgments based on what is seen on the surface.

Once Upon a Time by Evan Robarts is a metaphor for youth. The artist presents brightly-colored popsicles, an iconic childhood treat, that have been melted. What was once a symbol of youthful energy and enthusiasm has been manipulated to conform to its surroundings alluding to youth’s fleeting quality and resignation to time.

Elspeth Walker’s recent work The Success Tent is a durational performance and installation environment that hosts a two-faced oracle who delivers both good and bad advice to her viewers. Confronting the ubiquity of advice, young adults are inundated by guidance that is both inviting yet clichéd. The installation and performance is a commentary on the notions of being successful and the generic ways that society prescribes advice.