IsCP PICTURE PARLOR V | LEAVE NO TRACE: Ridges, Troughs and Phantom Limbs

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IsCP PICTURE PARLOR V | LEAVE NO TRACE: Ridges, Troughs and Phantom Limbs
Curated by: Margaret Clinton

1040 Metropolitan Avenue
11211 Brooklyn
October 3rd, 2009 - October 4th, 2009
Opening: October 3rd, 2009 6:00 PM - 8:00 PM

(718) 387-2900
Tue-Fri 12-6


International Studio & Curatorial Program (ISCP) is pleased to present the fifth presentation

of short-run curated art exhibitions, Picture Parlors. Three times a year, these events feature contemporary art by resident artists and artists living and working in New York City. Picture Parlors are curated by former ISCP Guest Critics or selected curators based in NYC.

LEAVE NO TRACE: Ridges, Troughs and Phantom Limbs

Organized by Margaret Liu Clinton


Picture Parlor, October 2009


Isoclinal folds have undergone greater stress that has compressed the limbs of the folds tightly together. The limbs of overturned folds dip in the same direction, indicating that the upper part of the fold has overridden the lower part. Depending on where the exposure is in an overturned fold, the oldest strata might actually be on top of the sequence and be misinterpreted as the youngest rock unit. Folding. 28 Aug 2009,,articleId-9495.html


I believe there are forms to be found within the activity of making as much as within the end products. These are forms of behavior aimed at testing the limits and possibilities involved in that particular interaction between one¹s actions and the materials of the environment. This amounts to the submerged side of the art iceberg.

Robert Morris, “Some Notes on the Phenomenology of Making,” 1970


If we were to apply the metaphor of geological accumulation to the history of art, we could quickly establish that the production of new works is grounded upon materials, styles and concepts from previous historical periods. We could also cite examples of works that willfully forefront selected a historical stratum by bringing it back into the fold. Both procedures seem obvious if not teleological. What is less obvious is how the old material is translated and then interpreted within its new context or guise.


Often a single, homologous work of art exemplifies these larger processes as noticeable marks belie a set of constitutive operations. As with any palimpsest, accumulated layers of discrete material operations serve as the subcutaneous foundation for what appears initially to be a flat plane. Conversely, we may discover that in other works several stages of phenomena have been purposefully occluded. As would be the case with a rockslide, it is precisely in the missing evidence or physical displacement, that we sense a set of phantom movements that are no longer visible.


This particular grouping of works invites us to extend the geological metaphors of material memory to mine a spectrum of artworks that annunciate or avoid accumulation, that provide a record of erasure or the surfacing acts of de-sublimation. The ISCP galleries, one newly- built, both rapidly transformed, also remind us that content, materials and their attendant interpretations may shift suddenly, in short bursts of time.