6/27–8/30: summertime… @ jenkins johnson gallery

Exhibition view, Summertime... at Jenkins Johnson Gallery,

Exhibition view, Summertime… at Jenkins Johnson Gallery. Two of my ribbon texts are on view alongside lovely ribbon-based wall works by Vadis Turner.

June 27–August 30, 2013

Jenkins Johnson Gallery
521 W. 26th Street, 5th Floor, New York, NY 10001
Summer gallery hours: Mon–Fri, 10am–6pm

Works by Shawn Huckins, Vadis Turner, and Christine Wong Yap. The exhibition features works of varying media and content, though all embody the dedication to contemporary art and mastering their media that Jenkins Johnson Gallery strives to propagate.

Christine Wong Yap, hope for good, allow for even better, 2012, ribbon, thread, pins, 51.5 × 47 in / 1.3 × 1.2 m

Christine Wong Yap, hope for good, allow for even better, 2012, ribbon, thread, pins, 51.5 × 47 in / 1.3 × 1.2 m

Art & Development

As Is transcript, Great Balloon Giveaway photos posted!

as is audience and panel

In case you were wondering:

What’s the role of pleasure in art?
How do you gauge sincerity?
Can Pop art transcend radical negative consumerist critique?

You might like to have a gander at the transcript of As Is: Pop & Complicity, the closing dialogue of my solo show, Irrational Exuberance (Asst. Colors) at Sight School, featuring Glen Helfand, Patricia Maloney, and Ginger Wolfe-Suarez.

Some highlights:

The show is like an experiment; it’s a sincere embrace of different things that are supposed to make you happy. She’s taken a lot of objects that supposedly exude a lot of optimism to see what sort of effect they may have. I don’t think the sentiment in the objects is sincere, but the sentiment in her embrace of that possibility is. (Victoria Gannon)

The term that comes to mind in regards to Christine’s work is ‘added value.’ For example, learning what the Banner photographs are made of makes them more exciting to me. They’re cheesy gift bags that have been transformed. Even though they’re working in the language that the materials are intended to be about—the notion of the gift—they become something ghostly. There’s an added layer of what the artist can bring to the materials. (Glen Helfand)

Also, I’ve just posted some beautiful photographs of The Great Balloon Giveaway shot by Paul Kuroda. Here are some sneak peeks:

The site-specific public project and social sculpture took place at the Camron-Stanford House on Lake Merritt in Oakland a few weekends ago. It was part of a series of projects sited in historic Oakland architecture called Here and Now. A closing reception for Here and Now is scheduled for tomorrow, Saturday, June 26, 8-10pm at Mills Hall, which is also the last chance to see Elaine Buckholtz’ light installation! Prior to that, catch Floor Vahn’s audio installation at Pardee Home Museum.

Full details available at Mills Art Museum or Invisible Venue.


wanted: machine to clone and transport

First Stop: London

I’d love to skip back over the pond to attend the Frieze Art Fair next week in London. Yes, it is a marriage of art and commerce, but it’s also more than that — newly commissioned art projects, featuring the fabulous Stephanie Syjuco, the delightfully perplexing Ryan Gander, and a fellow named Mike Bouchet, whose project involves hiring a motivational speaker to address an audience at the Frieze Talkslove it! There’s also a programme of killer talks, including a Q&A with John Baldessari, a lecture by James Elkins (the esteemed author from Art Institute of Chicago, who I’ve posted about before) as well as a timely talk on the role of state funding for the arts in a recession.

I’d leave my Clone in San Francisco

Of course, I’d have to clone myself first, so I could also be here in San Francisco for Southern Exposure‘s Grand Opening and the opening of the exhibition, Bellwether. The exhibition is shaping up really nicely, with a huge site-specific balsa wood installation by Reneé Gertler, a DIY survivalist’s shed by Whitney Lynn, an outpost for Lordy Rodriguez’ First Colony, among others. I’m also really looking forward to Liz Glynn‘s Banner Year project, which sweetly reminds me of Jeremy Deller’s Procession in Manchester this summer. Don’t miss the festivities October 16 and 17, at 20th and Alabama Streets.

Next Stop: New York

Then, after that, I’d attend Three Pieces, a one-night multidisciplinary event at PPOW Gallery in Chelsea, where Color&Color, a new publication by Amanda Curreri and Erik Scollon, will be unveiled (along with a work of sound and a work of language/performance. I submitted two images to the inaugural publication — can’t wait to see it.

I’d stick around in NYC for another night to attend The Creative Time Summit at the NY Public Library, which is kind of like a TED Talk for contemporary art. There are so many huge names on the roster, like Alfredo Jaar, Mel Chin, Liam Gillick, Julieta Aranda, the list goes on and on…

A recommended virtual stop: Los Angeles Times art review


Of course, if I had a transporter, I could save myself a lot of staring at the I-5. Since we haven’t got one — yet! — we could have a look at Leah Ollman’s L.A. Times review of Palimpsests, a three-person exhibition I’m in at Tarryn Teresa Gallery through October 29th.

News, Sights

October 22: Color + Color launches at P.P.O.W Gallery

I’ve contributed images to a new artist-initiated publication. It’s launching at an interdisciplinary event at P•P•O•W Gallery, a great space that represents some really awesome artists.

Three Pieces is an ongoing series which showcases three new pieces of sound, image, text or movement from local and visiting artists. Presented by Roddy Schrock and Deric Carner in various locations.

Amanda Curreri and Erik Scollon Presenting Color&Color #0

Color&Color is an artist-curated publication guided by the duality of two thematic colors per issue. The premier issue, Color&Color #0, features Orange & Blue with work by the following artists: Deric Carner, Amanda Curreri, Renee Gertler, Jason Hanasik, Sam Lopes, Celia Manley, Jeremy Chase Sanders, Erik Scollon, Skye Thorstenson, and Christine Wong Yap.

o.blaat (Keiko Uenishi), Sound Event

In Sound Event, the first word, “Sound” swings roughly between two of its many uses in “an experiment through the course of an event”: 1: (as noun,) the sensation produced by stimulation of the organs of hearing by vibrations transmitted through the air or other medium. 2: (as adjective,) following in a systematic pattern without any apparent defect in logic—as in sound reasoning. It is also an attempt to observe the certain swing/shift between a thing “signified” and “signifying” and perhaps the process of accumulation of desire.

Sal Randolph, Language Drawings
The artist will read from a series of new language “drawings” — texts made with a manual typewriter on long rolls of paper. As a kind of spontaneous “drawing practice” the words on these scrolls are free to follow one another according to an evolving set of principles including sound, shape, semantics, syntax, repetition, punning, play and association. These are intended to be texts without result, the residue of a practice that takes place unobserved: daily, meditative, noninstrumental.

P•P•O•W and The Hostess Project presents
Three Pieces: Platform for Art and Sound
Amanda Curreri & Erik Scollon, o.blaat (Keiko Uenishi), Sal Randolph
Thursday, October 22, 2009, 7–9 pm
P•P•O•W Gallery
511 W 25th St, Rm 301
New York City