The Gift of The Art Object
Lynda Erickson Gallery Director Hollis Witherspoon is pleased to present The Gift of The Art Object in gallery space 200 in 111 Front Street Galleries, with special assistance from the arts group This Red Door and support from Two Trees Management Co. Triangulating three corresponding efforts each using strategies of appropriation, audio/visual recording and image recycling, this selection of work iterates an antagonistic position on the questionable nature of ‘originality’ in contemporary art.
Though no other artist can claim to be an author or originator of the works shown in this exhibition, neither can the participating artists solely claim authorship of the objects to which their names are attributed. Rather these products are elements residual to an in studio/extra-studio practice, where plasticity itself an idea, and idea, though shy of material shape, is material. An integral articulation of production method and delivery system subsidizes art as product, reifying the art object’s status as an accessory to a given set of agreements; hence the art object’s notional gift nature.
Sophie Miyamoto - When The Angel of Death Kicks The Bucket of Life is a single-channel video with stereo sound. The work excerpts a 1958 reading of “Finnegan’s Wake” from a found cassette tape projecting images of text to accompany the sound recording. Pitch shifting present in the sound is completely natural and due to the decay of the magnetic tape at fortuitous moments, not from any conscious manipulation.
Eggert/Ricklefs - Ronde is a playful examination of audiovisual relations. The interior of a previously made kinetic sculpture A Diamond As Big As The Ritz provides the setting for the illusion of suspended gravity where an automobile tire floats while tethered to a string. As homage to Johan Strauss’ Blue Danube animating the spacecrafts in Stanley Kubrick’s Space Odyssey, the tire appears to dance to the same musical piece in staged choreography. Video running time 9:54.
Jomar Statkun - The Banal Zone (#001) and The Banal Zone (#001.5). The Banal Zone references Richard Prince’s 2008 exhibition Canal Zone at Gagosian Gallery. As stated on the Gagosian Gallery website of the Canal Zone exhibition, “This has become a completely new way for Prince to make a painting, where much of what shows up on the surface is incidental to the process.” In 2008, Patrick Cariou sued Prince, Gagosian Gallery and Rizzoli books for copyright infringement and won, claiming that Prince’s appropriation of some 40 photographs of Rastafarians taken from Cariou’s bookYes, Rasta failed to meet the terms of the “fair use” doctrine, which provides an exception to copyright law. Prince and Gagosian Gallery have since appealed the ruling. The Banal Zone paintings have been made in a painting reproduction factory in China. They are “copies” of the Richard Prince paintings from the Canal Zone exhibition.