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Los Angeles


Exhibition Detail
Let's Make the Water Turn Black
Curated by: Aram Moshayedi
631 West 2nd St.
Los Angeles, CA 90012

February 18th, 2011 - April 10th, 2011
March 5th, 2011 6:00 PM - 9:00 PM
God\'s Dice, Geoffrey FarmerGeoffrey Farmer, God's Dice,
2010, Installation view at the Walter Phillips Gallery, The Banff Centre
© Courtesy the artist; Catriona Jeffries, Vancouver; and Casey Kaplan, New York
downtown/east la
Tue-Sun 12-6 or Intermission
CalArts (California Institute of the Arts)
modern, figurative, conceptual, performance, installation, mixed-media, REDCAT, calarts, Geoffrey Farmer, sculpture

Regarded internationally for his cumulative, research-based projects, Farmer creates context-specific sculptural works that grapple with his longstanding interest in the relationship between art objects and theories of drama and dramatization. In doing so, Farmer mines a diverse array of literary and artistic histories to reveal the pervasiveness of theatricality within cultural experience. Rather than adhere to the convention of exhibitions as static displays, Farmer reconstitutes the gallery space as a site for improvisation, movement, alteration and accumulation.

For this exhibition, Farmer transforms the Gallery at REDCAT into both studio workshop and theatrical space where an assembly of performers and mechanized objects act out a scripted narrative in the form of a sculptural tableau. Starting mid-February, Farmer is in residence to work on-site and create a new site-specific "sculpture play" titled Let's Make the Water Turn Black in response to the region's social history and Los Angeles' influence on the counter-cultural movement. The exhibition begins on February 18 with a series of discrete installations on an architectural façade built to separate the central gallery from the REDCAT lobby. These revolving installations act as a prelude to the first public presentation of Farmer's sculpture play on March 5, 2011, when visitors are invited to enter the central gallery space for the first time.

Funded in part with generous support from the Audain Foundation.

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