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Readymade Shadows, 2005/2006 Chromogenic Print 22 ½ X 34 In. (57.2 X 86.4 Cm) © courtesy of the Artist, The Merce Cunningham Foundation and Carolina Nitsch, NY
Accrochage installation view 1
Accrochage-installation view 2
Accrochage installation view 4
Accrochage installation view 5

534 West 22nd Street
New York, NY 10011
July 5th, 2011 - August 12th, 2011

(212) 645 2030
Tue-Fri 11-6
photography, mixed-media, conceptual, sculpture


Carolina Nitsch is pleased to announce Accrochage, a summer group show at Carolina Nitsch
Project Room, 534 W. 22nd St, New York; including work by Louise Bourgeois, Richard Hamilton,
Jenny Holzer, Guillermo Kuitca, Vera Lutter, Josh Smith, and Christopher Wool.
I am Afraid (2009), by Louise Bourgeois, is a large woven cotton panel which, utilizing only text,
explicitly bares her fears of abandonment and loneliness. The Curved House (2010), also by
Bourgeois, is carved from pink Carrara marble and on one side we see a simple depiction of a
house; the other side reveals a woman’s genitalia, thereby rendering the house into a womb.
In 2010 Vera Lutter traveled to Egypt with a small camera obscura made from a converted
suitcase and photographed three ancient pyramids. These images were then printed as
photogravures, a mid 19th century technique that allows a continuous tone photo to be etched
into a copperplate and printed with intaglio inks, resulting in a very rich, haunting image.
Also on view is Der fliegende Hollander (2009), by Guillermo Kuitca, a suite of 9 images (there
are 7 unique suites) created with water-manipulated archival dyes printed on silk. The imagery
of the panels refers to a contemporary reimagining of Wagner’s opera (which the artist designed
sets for at Teatro Colón in Buenos Aires in 2003) and largely deals with interior, contained
spaces that have psychological resonance – a re-occurring motif of Kuitca’s work. The images
were printed with archival dye onto silk and then Kuitka went back into each print, adding water
to make the image run and bleed; a reference to the endless storms that the captain faces in the
original opera.
Incident on 9th Street (1997), by Christopher Wool, is a rarely seen suite of 13 gelatin silver prints,
in which he documents the aftermath of a devastating fire that consumed his studio in 1996. This
incident has since become very influential to his art making practice; from this time on Wool has
used white over-painting and solvents to erase elements of his work as a way of obscuring and
reinforcing the negative space of the picture plane.
Josh Smith recently completed an unusual edition for the New Museum in New York which is a
series of 32 unique works infused with gestural painting and collaged and de-collaged elements
executed on folded cardboard with distressed and abraded surfaces. The contradiction of the
“unique multiple” is part of the artist’s practice of incorporating serial repetition with individual
Jenny Holzer, known for her displays of text that appear to be timeless aphorisms, created the
granite Truism Footstool (1988). It reads: An elite is inevitable. Any surplus is immoral.
Humanism is obsolete. Humor is a release. Money creates taste. Murder has its sexual side.
Solitude is enriching. True freedom is frightful. War is a purification rite.
Readymade Shadows (2005/06), by Richard Hamilton, is the video still of a stage design which
he created for a Merce Cunningham Dance performance at London’s Barbican Center in 2005.
In it we see Duchamp’s famous Bicycle Wheel and its shadow cast onto a sheet behind it; the
ready made re-making itself yet again in the most simple, direct way. On the table is a bowler
hat, a reference to Hamilton’s friend and sometime collaborator, Dieter Roth.
For visuals and further information please call 212-645-2030 or email: