January 13–February 10th, 2011
Viewing hours: Thursday–Friday 5–7PM, Saturday–Sunday 12–6PM
244 N 6th Street
Brooklyn, NY 11211
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Artist Andrew Huston selects multimedia works by Michelle Ceja, Matthew Eiraldi, George Hofmann, Sherrie Levine, Gerhard Mantz, and Mike Zahn.
Andrew Huston's design for this exhibition sketches a multimedia pictorial outline. Multimedia isn't novel, exclusive, or comprehensive. Given the vagaries of both the word and the world, it's a dated term intentionally chosen to accommodate difference, and clears the way for broader interpretation than a typical 'new media' appellation might advance. The common thread linking these works isn't a substantive one, at least as material is countenanced by form or content. Nor is it simply a question of context or coding. Digitalization is foremost a rendering of the desire to unify experience. Like all representation, binary notation is a lie, and its relationship to mathematical truth and the displacement of nature, despite its seamless appearance, is wholly unsettled. One reason to make an exhibition is to generate meaning. By allowing the work to do exactly that, Huston's role enlists agency in a manner that rejects synthesis as profiling the logical shape of production while confronting the stock relationships most exhibitions propagate. AFTER-DUCCIO, the title of the show, is also a domain name created by Mike Zahn. It's linked to a Tumblr page where the artist has uploaded more than two thousand image files that resist anachronistic taxonomies of genre or style. In this respect, Zahn has followed the archival impulses of Larry Sultan and Mike Mandel, Robert Heinecken, or Bernd and Hilla Becher to a ridiculous end, but a deep engagement with the brilliant color, subtle tactility, and historical recognition of his subject cites the irreducible facticity of any object's remainder. In this respect, Zahn's position isn't so far afield from the one staked by painter George Hofmann, whose luminous Duccio Fragments navigate metaphorical abstract space by means of expressive gestures that metonymically recall passage from the Byzantine to the Renaissance. Matthew Eiraldi's untitled sculpture is presented as an actionable bootleg version of the piece thumbnailed on the Saatchi Gallery website, and reproduced to approximate scale without the artist's expressed permission. This 'reblogging' of a depicted thing within the nominal space of the white cube exponentially factors the equation of authorship with value and originality with legitimacy, variables of which Sherrie Levine, through her distinctive appropriations of Walker Evans, George Herimann, and Constantin Brancusi, is an acknowledged master. Michelle Ceja and Gerhard Mantz each conflate the actual and the virtual by animating surface, texture, and volume. The sculptural quality of their documents record the accession of light to our empirical senses by presenting fungible points that speed along vectors to infinite places where the viewer, at any particular moment, is not, but given time could potentially be.