Brain Multiples at 25

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© Courtesy of 1301PE
Brain Multiples at 25

6150 Wilshire Boulevard
90048 Los Angeles
July 15th, 2016 - August 27th, 2016
Opening: July 15th, 2016 6:00 PM - 8:00 PM

Tue-Sat 11-6 and by appointment


1301PE is pleased to announce Brain Multiples at 25, a survey exhibition featuring multiples by artists that have influenced or worked with Brain Multiples. While the works selected span a broad range of categories, they all articulate the respective artist’s common approach to the multiple as a possibility, rather than an afterthought.

Artists in the exhibition include Edgar Arceneaux, John Baldessari, AA Bronson, Andrea Bowers, Angela Bulloch, Fiona Connor, Meg Cranston, Kate Ericson and Mel Ziegler, Gretchen Faust, Fischli/Weiss, Katharina Fritsch, Ann Veronica Janssens, Mike Kelley, Rachel Khedoori, Martin Kippenberger, Paul McCarthy, Jorge Mendez Blake, Jorge Pardo, Philippe Parreno, Sigmar Polke, Ana Prvacki, Ed Ruscha, Jason Rhoades, Dieter Roth, Katy Schimert, Jessica Stockholder, Thaddeus Strode, Diana Thater, Lincoln Tobier, Rirkrit Tiravanija, Rosemarie Trockel, SUPERFLEX, Fischli/Weiss, Franz West and Pae White.

Founded in Los Angeles in 1991, Brain Multiples publishes and distributes artists’ multiples and books. Brain Multiples’ early multiples with such artists as Angela Bulloch, Diana Thater, Meg Cranston, Gretchen Faust, Thaddeus Strode, Kate Ericson and Mel Ziegler, Jorge Pardo, and Paul McCarthy provides a remarkable insight into some of the themes and concerns that defined the spirit of art making in the 1990s. This spirit continues with artists, such as Fiona Connor, Ana Prvacki and Jorge Méndez Blake.

The exhibition also includes artists who inspired Brain Multiples creation and the basic philosophy of “ideas best expressed in multiple form”. The exhibition celebrates the different ways in which artists have conceptually and formally embraced the multiple as a vocabulary within their respective oeuvres – whether to question the original/copy dichotomy, to explore the interdependence of aesthetics and utility, or to extend earlier performative events into objects that are re-activated by the viewer’s participation.

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