The First Thing
“lf you really want to hear about it, the first thing you’lI probably want to know is where l was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if l told anything pretty personal about them. They’re quite touchy about anything like that, especially my father. They’re nice and all - l`m not saying that - but they’re also touchy as hell. Besides, l`m not going to tell you my whole goddam autobiography or anything. l’|l just tell you about this madman stuff that happened to me around last Christmas just before l got pretty run-down and had to come out here and take it easy. I mean that`s all l told D.B. about, and he’s my brother and all. He’s in Hollywood. That isn’t too far from this cmmby plaoe, and he comes over and visits me practically every weekend. He’s going to drive me home when l go home next month maybe. He’s just got a Jaguar. One of those little English jobs that can do around two hundred miles an hour. lt cost him damn near four thousand bucks. He’s got a lot of dough, now. He didn’t use to. He sed to be just a regular writer, when he was home. He wrote this terrific book of short stories, The Secret Go/dish, in case you never heard of him. The best one in it was “The Secret Goldfish.” lt was about this little kid that wouldn‘t let anybody look at his goldfish because he’d bought it with his own money. It killed me." - J.D. Salinger, The Catcher in the Rye
Redling Fine Art is pleased to present The First Thing, a group exhibition featuring artwork by Jesse Aron Green, Nicholas Grider, RJ Messineo, Lisa Ohlweiler, and Clarissa Tossin. This show explores urposeful play with artist subjectivity, through text, process, image and object. Each work is anchored by a characteristic or relationship unique to the individual, but is not bound by an intent to share biographical information. When not serving a documentary purpose, does the personal have eaning beyond its metonymic capacity? The artworks in The First Thing test this limit, or question whether such definition is necessary.
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