Artist Curated Projects: Over-Under Worked
PARKER JONES is pleased to announce Artist Curated Projects. While this continues the gallery’s mission of showcasing the work of emerging artists, for this exhibition the artist-as-curator is given consideration.
The artists Eve Fowler and Lucas Michael began Artist Curated Projects in July, 2008, and have realized twenty-four projects since then, always with artists they believed deserved closer inspection, and always in non-traditional exhibition spaces, most often the home of a volunteer. For this project, ACP will operate within the ‘white cube’ and existing infrastructure of a commercial gallery.
The ubiquitous five-week exhibition duration has been divided into six sections. The first, which is curated by Fowler and Michael, will be a two week exhibition of the work of recent graduate from the California College of the Arts, Lee Maida. The remaining three weeks have been given expanded gallery hours and will be a seamless succession of four four-day solo shows, each by an artist selected by a guest curator chosen by Fowler and Michael, with a screening taking place at the end. The schedule is:
Dec. 5 – 18: Lee Maida, curated by ACP
Dec. 19 – Jan. 3: gallery closed
Jan. 4 – 7: Anne McCaddon, curated by Alex Segade
Jan. 8 – 11: Laurie Nye, curated by Anna Sew Hoy
Jan. 12 – 15: William Downs, curated by A.L. Steiner
Jan. 16 – 19: Madison Brookshire, curated by Erika Vogt
Jan. 22: screening, organized by Erika Vogt
Reminder emails will go out prior to each show detailing the hours of the opening reception and which full day each respective artist will be present in the gallery to answer questions.
Anne McCaddon, Over-Under Worked
When Anne McCaddon's studio was down the hall from mine, l couldn't keep myself from interrupting her so l could look at the pictures. First, there were these buildings she seemed determined to never ﬁnish: gesso eradicating the city, inky windows dribbling, Then, portraits of a hot apparition, smiling maybe, looking away She made ﬂiese faces for a year, then the porvart broke apart, and ﬂiere were ﬁngers and eyes, in batvving blacks and bright siren reds. The spookiness of these self-conscious abstractions was sad and funny — and she seemed so close to making her point the paintings turned away from the viewer as if the pointless work of making paintings had to be confronted, and afﬁrmed.
We spent three years talking about the other students, money, competition, R&B, art history and boys. Sometimes, our discouragement. This is what l remember about those pictures in Anne's studio: a tireless pushing, an unending scratching the inﬁnite building up of what is to be inﬁnitesimal in its taking apart lt seems so impossible, describing how hard it is for an artist to work, when making art is the easiest thing to do. And yet one thing l had in common with Anne was that we both believed that art is labor, if you think of it that way, and it should be hard.
We also agreed on not making it look too much like work— that's a major turn-off ln Anne's eloquently imperfect colorings, tender cover-ups, prettinesses made out of clumsinesses, the conﬁdence is placed in the viewer: she ﬁ'usts that we are worth conﬁding in. Anne's paintings are vulnerable, like friendships, and honest, like friends can be, but they don't always comfort, and they can't always be there for you. They withhold just enough to seem human.
At Anne's most recent open studio, there were fancy wines and classy snacks — and l don't think there were any hip-hop/R&B conglomerations playing in the backgound — but there were ﬂie new paintings of pine-apples and sushi and rug and ﬂowers, ﬂiese familiar, drawing-like icons barely keeping themselves together, displaced by amorphous shapes in un-obvious colors. The absurdly pleasant subject matter is rendered wiﬂi ﬂie easiest hand, or rather, an eased grip; something's changed, and it would be ﬁtting to say that these works are mature, made by someone who knows what they are doing, and what is being undone by doing it Anne's paintings play out the tensions between the work and the not-work the image and the means of making rt appear, the plan and the tentative steps taken toward its execution
Yes,Anne McCaddon's still working hard, which is not so easy to do, even if you have your degree and you are ofﬁcially a master of ﬁne arts. McCaddon is still working it, and there are places on the canvas where she can't let go, where the ﬁxation on an unknowable idea runs aground, and paint accumulates on these otherwise girlish compositions like scabs over scraped elbows. Standing among these products of her labor, a labor so close to leisure the outside world will never understand, l get this feeling like Anne's telling me, you know, hard work pays off, even when it doesn't. -Alex Segade, Los Angeles, December 2010
Anne McCaddon (b. 1981) received her BFA from The School of The Art Institute of Chicago (2003) and her MFA in Painting from UCLA (2009). McCaddon’s been included in the group exhibitions Wet Paint: 10 Young LA Painters (Steve Tumer Contemporary, 2009) and New lrsight (Art Chicago, 2009, curated by Suzanne Ghez of The Rennaissance Society). She currently lives and works in Los Angeles, and this is her ﬁrst solo exhibition.
Anne McCaddon will be present in the gallery on Jan. 6, from 11 a.m. — 6 p.m., to talk about her work.
Alex Segade (B. 1973) is an artist who currendy lives and works in Los Angeles. Segade holds a BA in English and an MFA in Interdisciplinary Studies from UCLA (2009). He is one-third of the performance trio My Barbarian, which has exhibited orperformed at De Appel, Amsterdam; Torpedo, Oslo; The Power Plant, Toronto; Galleria Ciwca, Trento, Italy; Center for Contemporary Ait, Tel Aviv; MOCA, Los Angeles; LACMA; The Hammer Museum; REDCAT; LAXART MOCA, Miami; The New Museum; Whitney Museum; Studio Museum in Harlem; the 2005 and 2007 Performa Biennials and the 2009 Balﬁc Triennial.