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INVISIBLE-EXPORTS is pleased to present Denudation\ , an exhibition of new work by Mickey Smith\, and her third solo show at th e gallery.

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The palace of memory is re- built again with each walk through. In her new series\, Denudation\, Mickey Smith presents a mesmerizing kind of in-situ laboratory-style pho tography—the image as evidentiary document\, the print as cold case. The st ark\, dark photographs in this new exhibition test the limits of objectivit y and the false consolation of casualness even as\, in the tradition of doc umentary and crime-scene photography\, the images aspire to conscientious n eutrality. The photographs document those objects discarded within an aband oned library\, but their formal objectivity is no guard against the ghosts of narrative\, perceived or imagined.

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In her 2008 series\, Volu me\, Smith photographed library-stack sets of bound periodicals to mem orialize them as shared objects of a common literary culture\, now passed. In Believe You Me\, from 2010\, she examined the manner in which b ooks and book-learning continue to deliver status even in a culture that ha s turned away from reading—indeed even more powerfully\, and more pervasive ly\, than in eras that had not yet given up on the book as a storehouse of knowledge.

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The somber photographs in Denudation are more s crutinous and more skeptical of the broad documentary project. The works\, portraits of discarded objects\, double as studies of the library as a tech nology of forgetting—a place where things are discarded and disregarded as much as they are preserved and restored. Included in the new series is 123\, a suite of photographs Smith took at age eleven of the implosion of the Northwestern National Bank Building in Minneapolis\, Minnesota. In a gesture of self-appropriation\, Smith collaborates with her younger self\ , capturing a moment of transformation from function to memory. The perform ative act surrounding both 123\, and Denudation as a whol e\, suggest\, too\, that documentation\, in book culture and in photography \, may be not just an atavistic\, but a failed science—a system of universa l knowledge that yields\, ultimately\, merely a scrap heap of things left b ehind.

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Mickey Smith (b. 1972 Duluth\, MN) received a BA in Photography from Minnesota State University Moorhead i n 1994. She has received awards from the McKnight Artist Fellowship for Pho tography\, the Forecast Public Art Affairs\, CEC ArtsLink\, and Americans f or the Arts. Smith lives in Auckland\, New Zealand and is represented by IN VISIBLE-EXPORTS in New York. 

DTEND:20121209 DTSTAMP:20140822T080011 DTSTART:20121026 GEO:40.715155;-73.9917254 LOCATION:Invisible-Exports\,89 ELDRIDGE STREET \nNew york\, NY 10002 SEQUENCE:0 SUMMARY: DENUDATION\, Mickey Smith UID:240472 END:VEVENT BEGIN:VEVENT DTEND:20121026T200000 DTSTAMP:20140822T080011 DTSTART:20121026T180000 GEO:40.715155;-73.9917254 LOCATION:Invisible-Exports\,89 ELDRIDGE STREET \nNew york\, NY 10002 SEQUENCE:0 SUMMARY: DENUDATION\, Mickey Smith UID:240473 END:VEVENT END:VCALENDAR