Curated Artist Registry

The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.

ALL ARTISTS ALPHABETICALLY: a → d e → h i → l m → p q → t u → x y → z

Jonathan Ehrenberg
New York NY US
Updated: 2017-11-12 23:10:09


Bad Tools

Bad Tools (a video installation at SculptureCenter in 2016) draws its theme from Flann O’Brien’s The Third Policeman — a novel whose protagonist dies in its first chapter and unknowingly spends the rest of the novel in limbo. Seen from the first person and structured as a loop, the video navigates a circuit of strange rooms and courtyards that seem somehow familiar. While the video’s imagery is fantastic, its movements are extracted from footage shot in SculptureCenter’s basement exhibition space. The movements are then mapped onto photographs depicting three-dimensional studio constructions, and this process pushes the viewer’s actual experience through the skin of the story unfolding on the screen. 3D models, motion-capture, and a variety of animation techniques form a narrative that explores loss of control, disembodiment, and mortality.

The Outskirts (excerpt)

In The Outskirts, a figure lost in the woods fixes on a destination: a castle on a distant hill. But his surroundings are constantly in flux, and the castle remains perpetually out of reach. Inspired by Kafka’s The Castle, the piece is an exploration of shifting perceptions, delusions, and the ways in which we invent the world around us. Clip from a 10:34 minute video, soundtrack: Timo Andres.


In Monument, which explores themes of shelter and disorientation, the line between inside and outside gives way as houses unfold into expansive landscapes or drift off into the horizon. 1 minute two-channel video.

Seed (excerpt)

In Seed, a man begins losing pieces of himself and takes on the qualities of a tree. This metamorphosis, which has no discernible cause, evokes a sense of helplessness, loss of identity, and disintegration of emotional bonds. The piece is based partly on Japanese folk tales that deal with themes of transformation and partly on Nikolai Gogol’s “The Nose.” Clip from a 6:52 minute video, soundtrack: Timo Andres.

Moth (excerpt)

Loosely based on Elizabeth Bishop’s poem “The Man-Moth,” Moth follows three figures drawn to sources of light. One is attracted by lights flickering on water, another by the moon, another by figures illuminated in a window. In each vignette, the laws of the physical world are malleable, ambiguous. Clip from a 9:20 minute video, soundtrack: Timo Andres.

The Blue Hand (excerpt)

In The Blue Hand, characters based on masks I made as a child are lost in an artificial forest. They undergo trials and transformations that, although depicted through crude special effects, invite genuine empathy. Clip from a 6-minute video, soundtrack: Saleem Dhamee.

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