A full-color exhibition catalog including literary essays by Ivy Cooper, Rujeko Hockley, and Itza Vilaboy.
is a forty page color catalog.
The catalog is a collaboration of ideas, design, and conceptual narration with myself and Rujeko Hockley; Ru will conduct an interview and include an essay in the catalog that will set the tone for the publication and establish a conceptual framework. Ivy Cooper, an Art Forum contributor, and Itza Vilaboy an art writer for ZG Press will include essays to further flesh out the narrative potential. Claire Zitzow our production designer will format the book's layout. The catalog will document the evolving installation over the course of the six week exhibition and function as a continued platform for the show's extension and textual consideration.
The catalog is a parallel literary project with the eponymously titled solo exhibition opening January 20th, 2012 at Good Citizen, a gallery in St. Louis, MO. The space has housed challenging and critically acclaimed exhibitions with reviews written in numerous publications including Art Papers and Art Forum.
Your contribution will go directly to the printing costs of 100 7x10 inch color catalogs. We're using an established but locally owned and independent printing company in Los Angeles, the wonderful Paper Chase Press http://www.paperchase.net/
Please below find text that describes the exhibition,
The Indeterminate Length
The exhibition, The Indeterminate Length describes the nature of time experienced and actual: the incomprehensible indefiniteness of change. Discarded bits of furniture, chairs, tables, shelves, stools, bricks, rocks, and other provocative debris, pulled from alleys and lots around St. Louis will be stacked and arranged atop a similarly collected shag carpet. The construction will form a shifting scaffold that is frozen in time. The edifice of objects will undergo several reorganizations during the course of the exhibition. With each subsequent arrangement, an impression will be left in the carpet. These impressions, much like an abacus, will accumulate forming a visible index of the prints left.
The exhibition incorporates a billboard that overlooks the gallery effectively marrying the interior gallery space and exterior public space. The billboard printed with a photograph taken in rural Tennessee reads, “I was here but now I’m gone”. It refers to the transience of the installation both large and small in scale and the conceptual framework the exhibition is built from. Inside the gallery,a further sculpture augments the furniture structure. In a corner of the gallery will be a three sided photographic sculpture sitting on a triangular table. Measuring approximately human-size in scale the photographs are of a flower arrangement painstakingly assembled from both local and exotic species. The arrangement was photographed using a medium format camera, to retain filmic color, depth, and quality, from three distinct sides. The assembled sculpture renders a thrice fractured reckoning of the original arrangement. I have attached images for visual reference.
Just beyond the flower arrangement on either wall will be two 11x17 inch framed photographs of both my left and right hands, one per wall in the corner. Each hand’s palm was scanned and slightly enlarged. The space separating the sculpture and wall mounted images will allow for one person to travel between them. The proximity the viewer keeps to both will implicate the viewer as onlooker and participant.
The last element that is decidedly opportunistic is the exhibition card; typically used to announce with pictorial brevity the exhibition. This exhibition's card will maintain a degree of anonymity but will be defiantly presented as artwork to be kept by visitors. The card, on one side, shows an installation performed in my studio here in La Jolla. The installation consists of a large rectangular cut made in the wall of my studio, which is then filled with ceramic, glass, and metal vessels stacked in columns.
The exhibition, The Indeterminate Length, incorporates sculpture, installation, photographs, a small take-away card, and billboard that shift from their original in scale and medium to look closely at our relationship to origin and destination: human, object, and image.
Special Thanks for their contributions and wisened advice go to:
Steve Fagin, Christopher Kardambikis, Anya Gallaccio, BJ Barclay, Ela Boyd, Louis Schmidt, and Lucas Blalock.
This has been a frequently asked question.
The answer is yes, this book will be totally awesome.
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A 2-inch square signed piece of carpet from the gallery floor, and a personal thank you call from the artist.Estimated delivery:
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A framed, signed and matted Indeterminate Length exhibition card and a personal thank you call from the artist. This is no mere exhibition card; it is an integral piece of the exhibition and a work of art in its own right.Estimated delivery:
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A signed copy of the limited-edition, full-color catalog, which you are helping to produce; an Indeterminate Length exhibition card, and a personal thank you call from the artist.Estimated delivery:
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A signed copy of the limited-edition, full-color catalog, a signed original preparatory drawing or collage, and a personal thank you call from the artist.Estimated delivery:
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A signed copy of the limited-edition, full-color catalog, which you are helping to produce; a framed and signed 5-inch square piece of imprinted carpet; and a framed, signed, and matted original photograph of the installation.Estimated delivery:
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A signed copy of the limited-edition, full-color catalog; a signed, framed and matted exhibition card; a signed original 11x14-inch watercolor on Rives BFK paper; and a personal thank you call from the artist.Estimated delivery:
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