Matthew McCaslin
Born 1957
Lives and works in Brooklyn, NY

Education
1980 B.F.A., Parsons School of Design, New York, NY

Matthew McCaslin has been exhibiting extensively throughout the United States and abroad since 1982. His work has been the subject of numerous solo exhibitions in cities including New York, NY; Los Angeles, CA; Chicago, IL; Newport Beach, CA; Hartford, CT; Washington, DC; Dallas, TX; St. Louis, MO; Madrid, Spain; Basel and Bern, Switzerland; Paris, Lyon, and Dijon, France; Brescia, Rivara, Torino, and Turin, Italy; Buenos Aires, Argentina; Bregenz, Austria; London, England; and at venues throughout Germany including Berlin, Cologne, Freiburg, Hannover, Leipzig, Munich, Münster, and Nuremberg.

Selected group exhibitions include Valencia Biennale, Spain (2003); Video Mix, Arario Gallery, Cheonan, South Korea (2003); Imago, Musee de Beaux Arts, Dôle, France (2003); Seven Grays, Paula Cooper Gallery, New York, NY (2002); Tempo, Museum of Modern Art, New York, NY (2002); New Works, Feigen Contemporary, New York, NY (2001); Night on Earth, Stästische Kunsthalle, Münster, Germany (2001); Perfect 10, Sandra Gering Gallery, New York, NY (2001); Retrospective Survey: 1987-2000, Wanås Foundation, Wanås, Sweden (2001); Speed of Vision, Aldrich Museum of Contemporary Art, Ridgefield, CT (2000); Dinge, Haus der Kunst, Munich, Germany (2000);16 Americans, Hallway, London, England (2000); The Light Show, Gale Gates, et al., Brooklyn, NY (2000); Endgames, Kunstmuseum, St. Gallen, Switzerland (1999); I Love New York, Ludwig Museum, Cologne, Germany (1998); Dijon/le Consortium.coll tout contre l'art contemporain, Centre Pompidou, Paris, France (1998); 2000 minus 3, Neu Gallery, Graz, Austria (1997); Istanbul Bienal, Istanbul, Turkey (1997); Berechenbarkeit der Welt, Bonner Kunstverein, Bonn, Germany (1996); Departure Lounge, The Clocktower, New York, NY (1996); Drawn on the Museum, The Aldrich Museum of Contemporary Art, Ridgefield, CT (1995); Oltre la Normalita Concentrica, Citta di Padova, Padua, Italy (1995); Passions Privees, Musee d'Art Moderne de la Ville de Paris, Paris, France (1995); Der Stand der Dinge, Kölnischer Kunstverein, Cologne, Germany (1994); More than Zero, Centre National d'Art Contemporain de Grenoble, France (1993); The Nightshade Family, Friedericianum, Kassel, Germany (1993); Three or More, a Multiple Exhibit, Spiral/Wacoal Art Canter, Tokyo, Japan (1992); Translation, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland (1992); Felix Gonzales Torres, Liz Larner, Christian Marclay, Matthew McCaslin, Galerie Jennifer Flay, Paris, France (1992); The Big Nothing, The New Museum, New York, NY (1992); Castello di Rivara, Turin, Italy (1991); Idiosyncrasies in the Expanded Field, Postmasters Gallery, New York, NY (1991); The Mattress Factory, Pittsburgh, PA (1990); Stendhal Syndrome: The Cure, Andrea Rosen Gallery, New York, NY (1990); Une Autre Affaire, Le Consortium, Dijon, France (1989); Sunrise Highway, John Gibson Gallery, New York, NY (1998); The Art of the Real, Galerie Pierre Huber, Geneva, Switzerland and De Appel, Amsterdam, The Netherlands (1987); Special Projects, P.S.1 Center for Contemporary Art, Long Island City, NY(1987); and Mind-Matter, Bess Cutler Gallery, New York, NY (1986).

For the Winter Light exhibition, Matthew presents Roots of the Nightshade Family, an installation of over one hundred red light bulbs hanging from a tall Cottonwood tree in the Park. Initially, the piece resembles a tree adorned for the holidays, but both the scale and the composition are unusual. The brilliant, over-sized red bulbs are arranged in spare clusters that hang from the tree¹s limbs on thick black cords. The lights appear as strange winter-born fruits brightly populating an otherwise barren tree. With the movement of the wind through the branches, the installation creates an illuminated pattern of red drops undulating in the night sky.

Roots of the Nightshade Family will be illuminated from sunset to sunrise every day from January 1 through January 31, 2003.

Optimal viewing points for this installation include the area immediately surrounding the Park including lower Broadway and Halletts Cove in Long Island City; Lighthouse Park and the northern end of Roosevelt Island; the Upper East Side of Manhattan near Carl Schurz Park; and the New York Water Taxi between the E 90th Street and Hunters Point or E 34th Street stops.