Main Gallery: The Suitcase Meets The Fucked Up Drawing Party
Los Angeles, CA 90031
The Suitcase Meets The Fucked Up
In the exhibition, The Suitcase Meets The Fucked Up Drawing Party, a rendezvous has been arranged between two Los Angeles-based collaborative groups. Each group has a specific agenda (written or un-written, spoken or un-spoken; concrete, organic, or other-wise). Each group’s membership is fluid and in flux, while maintaining certain core collaborators. Both groups engage in the concept of an ‘open’ work. While bound by a collective mission, neither group imposes a fixed reading of said agenda on said membership. The dilemma that emerges is what happens when two such fluid groups come in close proximity.
Collaboration has long been a strategy employed in artistic production. The benefits lie in the ability to abandon personal responsibility for anything horrible that emerges, to share in the glory of others’ work and claim it as your own, and, at best, a removal of ego; an out-of-body viewing of what can be produced when personal issues of career, fame, or fortune are eliminated. The specific tactics of The Suitcase and The Fucked Up Drawing Party can be traced to Surrealist party games, or more recently, The Royal Art Lodge.
The Suitcase emerged from some unresolved drawings of Los Angeles-based artist Kent Hammond. He began exchanging these unfinished works in several suitcases with fellow artists. The idea was to resolve what was unresolved, include additional work to be finished, and pass the suitcase to another artist. During exhibitions, works remain in flux; edited and elaborated, executed and eliminated. Derived from wide-ranging methodologies, the by-products of The Suitcase are bound in conflict resolution. Since its inception, numerous suitcases have been passed around with stops at Park Projects and Upstairs At The Market Gallery.
The Fucked Up Drawing Party (FUDP) emerged out of UCLA guided by artists Nathan Danilowicz and Daniel Gaines. According to their manifesto (yes, manifesto), “[t]he purpose of a Fucked Up Drawing Party is to get fucked up (i.e. intoxicated) and draw things that are fucked up (i.e. disturbing).” While concerned with the ‘creation of abject imagery’, the specifics of the FUDP are ambiguous. What one person finds abject, or ‘fucked up’, may drastically differ from another. With the hint of a sociological survey, the FUDPs include both artists and ‘non-artists’. At the root is an interest (and engagement) in the perceived taboos of our society. This is the first exhibition of the works that have emerged from FUDPs.