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Greene Naftali

Dock Lands

  • Hilary Lloyd
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    Hilary Lloyd, Installation view
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    Hilary Lloyd, Installation view
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    Hilary Lloyd, Installation view
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    Hilary Lloyd, Installation view
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Press for Dock Lands

Current Exhibitions at Greene Naftali


Heterotopia II

  • Peter Halley,
  • Opens: Nov. 06, 2019
  • Closes: Dec. 20, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Konrad Lueg [Extended]

  • Konrad Lueg,
  • Opens: Sep. 19, 2019
  • Closes: Dec. 20, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

The Bather’s Dilemma

  • Paul Chan,
  • Opens: Sep. 12, 2019
  • Closes: Oct. 19, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Sign Language

  • William Leavitt,
  • Opens: Apr. 30, 2019
  • Closes: Jun. 15, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

As It Lays 2

  • Alex Israel,
  • Opens: Apr. 30, 2019
  • Closes: Jun. 15, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Bait Paintings

  • Richard Hawkins,
  • Opens: Mar. 08, 2019
  • Closes: Apr. 19, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Passage to Dynasty

  • Gang Zhao,
  • Opens: Mar. 15, 2019
  • Closes: Apr. 19, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Ileden

  • Sophie von Hellermann,
  • Opens: Jan. 08, 2019
  • Closes: Feb. 02, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Swingers

  • Chantal Akerman,
  • Marie Angeletti,
  • Lutz Bacher,
  • Barbara Kruger,
  • Josephine Pryde,
  • Heji Shin,
  • Akram Zaatari,
  • Opens: Oct. 26, 2018
  • Closes: Dec. 15, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Michael Krebber

  • Michael Krebber,
  • Opens: Oct. 26, 2018
  • Closes: Dec. 15, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Mollusca & The Pelvic Floor

  • Trisha Baga,
  • Opens: Sep. 14, 2018
  • Closes: Oct. 20, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Painting: Now and Forever, Part III

  • Magnus Andersen,
  • Monika Baer,
  • Robert Bechtle,
  • Nayland Blake,
  • Julien Ceccaldi,
  • Vija Celmins,
  • Xinyi Cheng,
  • Leidy Churchman,
  • Whitney Claflin,
  • Ed Clark,
  • Robert Colescott,
  • Matt Connors,
  • Allan D’Arcangelo,
  • Noah Davis,
  • Lois Dodd,
  • Lukas Duwenhögger,
  • Nicole Eisenman,
  • Janiva Ellis,
  • Jana Euler,
  • Genoveva Filipovic,
  • Sam Gilliam,
  • Tony Greene,
  • Rachel Harrison,
  • Luchita Hurtado,
  • Alex Israel,
  • Jasper Johns,
  • Matsumi Kanemitsu,
  • Bhupen Khakhar,
  • Mathieu Malouf,
  • Helen Marten,
  • Lucy McKenzie,
  • Rodney McMillian,
  • Jill Mulleady,
  • Jeanette Mundt,
  • Howardena Pindell,
  • Suellen Rocca,
  • Eiichi Shibata,
  • Gedi Sibony,
  • Avery Singer,
  • Sylvia Sleigh,
  • Anne Speier,
  • Linda Stark,
  • Hervé Télémaque,
  • Karl Wirsum,
  • Lynette Yiadom-Boakye,
  • Gang Zhao,
  • Opens: Jun. 28, 2018
  • Closes: Aug. 17, 2018
  • Reception: Jun. 28, 2018
  • Hours: 6 - 8pm
  • Admission: free

A New Look at TV and a Funhouse

  • Dan Graham,
  • Opens: May. 19, 2018
  • Closes: Jun. 16, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

On Non-Visibility

  • Tony Cokes,
  • Opens: Apr. 27, 2018
  • Closes: Jun. 09, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

The King And The Corpse

  • Gedi Sibony,
  • Opens: Mar. 22, 2018
  • Closes: May. 05, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Tears and New Tears

  • Josef Strau,
  • Opens: Mar. 08, 2018
  • Closes: Apr. 14, 2018
  • Reception: Mar. 08, 2018
  • Hours: 6 - 8pm
  • Admission: free

Walking Point

  • Mary Ann Aitken,
  • Wally Hedrick,
  • Craig Kalpakjian,
  • Paul Chan,
  • Tetsumi Kudo,
  • Tony Conrad,
  • Lee Lozano,
  • Dan Flavin,
  • Pope.L,
  • Isa Genzken,
  • Andrew Ross,
  • Rachel Harrison,
  • Martin Wong,
  • Opens: Feb. 16, 2018
  • Closes: Mar. 10, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Hotel Suicide

  • Richard Hawkins,
  • Opens: Jan. 19, 2018
  • Closes: Mar. 03, 2018
  • Reception: Jan. 19, 2018
  • Hours: 6 - 8pm
  • Admission: free

Paradiso: A New Play by Richard Maxwell

  • Richard Maxwell,
  • Opens: Jan. 12, 2018
  • Closes: Feb. 10, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Jacqueline Humphries

  • Jacqueline Humphries,
  • Opens: Oct. 27, 2017
  • Closes: Dec. 16, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Peter Halley

  • Peter Halley,
  • Opens: Sep. 15, 2017
  • Closes: Oct. 21, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Prasine

  • Rachel Harrison,
  • Opens: Apr. 28, 2017
  • Closes: Jun. 17, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Dock Lands

  • Hilary Lloyd
  • Opens: May. 26, 2017
  • Closes: Jun. 24, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

New York Golem

  • Gelatin,
  • Opens: Jun. 23, 2017
  • Closes: Aug. 04, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

When

May 26 - Jun 24, 2017


Where

Greene Naftali

  • 508 West 26th Street, 8th Floor, New York NY 10001 Map
  • 212.463.7770

About

Greene Naftali is pleased to announce Dock Lands, Hilary Lloyd’s first exhibition with the gallery. For over two decades, Lloyd’s videos and slideshows, protracted and distilled, have simulated the gaze in their singular studies of incidental impressions. Staged among foregrounded and fetishized technological apparatuses—including monitors, projectors, and cables—Lloyd’s installations implicate the body in the act of viewing, directing the viewer to physically navigate her various screens while activating the senses outside of vision and hearing. Taking as her subject matter her immediate surroundings, Lloyd’s videos closely study quotidian scenes, expanding minor moments to capture fantastic details such as distortions in recorded light, and examining objects and figures with an intimacy that implicates the tactile as well as the visual. In recent years, Lloyd has experimented with a raw and amplified aesthetic, introducing Photoshop animations, saturated colors, and tie-dyed textiles—allowing their plain artifice to further highlight the documented reality of her unedited footage. Lloyd’s expansive installation in Dock Lands navigates various screen images and material surfaces, oscillating between virtual and actual, mimetic and literal, representative and symbolic—in an exploration of perception and its boundaries.

Upon entering Dock Lands, the viewer first encounters two lengths of tie-dyed hot pink and black fabric, hanging from an oddly obtrusive frame of industrial wall studs—in a nod both to cinematic curtains and to aesthetics claimed by psychedelic and punk subculture. Beyond this initial obstruction are paraphernalia suggestive of a rock performance: a tangle of cables, tall set of speakers, and a subwoofer. Various spatial interventions stretch across the area of the gallery. Another stud construction—in which Lloyd has embedded two overlapping wooden cutouts, among many strewn about the gallery—extends toward a rear wall of the gallery. Running across the top of the back wall is a banner, which rounds the corner of the room and stretches across the length of the adjacent windows. Aurally, one hears a dog barking and a cover of the 1936 Fred Astaire song, “We Saw the Sea”—relating the exhibition’s soundtrack to her playfully embellished dog photos and stenciled anchors, Lloyd uses sound not as diegetic but as associative and symbolic. Though it fills the space, the soundtrack in fact originates from Mile High Club (2017). Projected low on the floor and at a small scale, Mile High Club turns Lloyd’s lens on an airport runway as seen through a plane window, exploring a romanticized notion of arrivals and departures. Emphasizing texture, activating every part of the gallery space, stimulating yet confusing one’s hearing, and obstructing natural pathways, Lloyd’s installation renders viewing an active and physiological experience, upending cinema’s paralysis of the viewer and singular focus on the screen.

The works on view (all 2017)—projections into inconspicuous corners, layered onto one another, or played on a flat screen and leaning against a column—often foreground light, and its apparent discontinuities once translated through a lens. Blossom is swaying florals, brightened and blurred to pink impressions by hot white sunlight. Joanna is a young woman wearing various dresses—some of them echoing the nautical theme of the installation—and holding them up to the camera. At several points, Joanna takes a clothed shower—scenes that are at once sexually heightened and a continuation of Lloyd’s ability to draw out material details. Scarves, like Joanna’s clothes, echoes the textiles that populate the literal space of the gallery. Coots plays in the back room, projected along with a simple line drawing of a cat. Panning up and down on a duck pond in early morning light, the video’s soundtrack again belies its image, overlapping a low bass line, crashing ocean waves, and whipping winds, onto the more congruous sounds of small birds chirping.


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