Scroll down for details on individual works

Works by: (January) Louise Barry; (February) Einat Imber; (March) May Jong; (April) David Grainger; (May) Anne Gilman;  (June) Amze Emmons & Marianne Dages; (July) Heather Kapplow; (August) Ellie Irons in collaboration with Dan Phiffer; (September) Eric Asboe; (October) Katherine McLeod; (November) Sarah Nicholls;(December) Amanda Friedman.

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JANUARY—Louise Barry
Januaries, 2014. Digitally printed booklet, 12pp, 5½ x 8½ in. Edition of 50.
A collection of January images from recent calendars hints at a collective understanding of the mood and meaning of January.

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FEBRUARY—Einat Imber
Just Add Wind, 2014. Fabric, hardware, 25 x 7½ x 16 in. (approx.) Edition of 30.

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MARCH—May Jong
Global Desertification and Sea Level Rise Including Extremes, 2014. Screenprint, 11 x 17 in. Edition of 30.

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APRIL—David Grainger
Tornado #28, 2014. Inkjet print on archival paper, 11 x 14 in. Edition of 30 + 3 AP.

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MAY—Anne Gilman
One must adjust to a lack of predictable outcomes, 2014. Digital print with chine-collé woodcut, 11 x 15 in. Edition of 30 + 5 AP.
Report based on investigation of possible correlation between barometric and other kinds of pressure, stress, or pain, incorporating actual data, missing data (later replaced) and conversations regarding physical and emotional well-being with the artist’s ninety-year old mother. Conclusion: inconsistency and lack of correlation are the norm. One must adjust to a lack of predictable outcomes.
Artist’s full report is online here.

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JUNE— Amze Emmons and Marianne Dages
June, 2013. Letterpress and screenprint, 14 ¾ x 10 in. Edition of 49.

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JULY—Heather Kapplow
Acclimation, 2014. Canvas, 31-day performance/interactions, writing, sweat, sunscreen, Long Island City weather and dirt, audio interviews, still photography, safety pin, printed cardstock, PDF file and video, delivered as DVD in custom cloth sleeve with insert. Dimensions variable, video duration: 23 min. Edition of 30 + 1 AP. PDF file here
For the month of July 2013, the artist used her body to measure the weather at the site of SP Weather Station and interviewed people about talking about the weather, studying the moments where social discomfort and physical discomfort meet and cancel one another out.

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AUGUST—Ellie Irons in collaboration with Dan Phiffer
Selections from Flight Lines, August 2013, 2014. Set of six postcards and video: postcards: 4 x 6 in., video: 15 min. Edition of 33.
Flight Lines is an ongoing computer vision project that monitors our skies as they evolve in response to human influence. This iteration combines SP Weather Station data, global atmospheric carbon dioxide trends and abstracted video documentation of the sky above New York City. ellieirons.com/flight-lines/

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SEPTEMBER—Eric Asboe
It takes more than a month to be made whole; it takes less than the weather to shape our days, 2014. One of a series of thirty letters, envelope, stamp: letter: 8 ½ x 11 in; envelope: 4 x 9 ½ in.
An epistolary novel in thirty parts.

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OCTOBER—Katherine McLeod
Six buttons, each: 2 ¼ in diameter, Edition of 30.
Nonno’s poem from Night of the Iguana, by Tennessee Williams, six stanzas on six buttons, which poetically evoke the seasonal shifts that occur in October.

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NOVEMBER—Sarah Nicholls
How to Fortell the Weather Using the Pocket Spectroscope, 2014. Letterpress and linoleum print on paper, trifold pamphlet, 10 ½ x 12 ½ in. (open), 10 ½ x 4 ¼ in. (closed). Edition of 30 + 10 AP
There was really very little rain in November of 2013, but what there was of it mainly fell on November 27th. Included is a description of how to read the rain bands using a pocket spectroscope, a widely popular weather forecasting trend in the 19th century, and the artist’s rendering of what the rain bands on November 27th, 2013 might have looked like through the spectoscope.

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DECEMBER—Amanda Friedman
December Wind Speed Swans, 2013–2014. Wire, nails, found objects, Dimensions variable (approx. 12 x 1 in. overall).
Variable edition of 31. (entire edition shown below)

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