Sunday, 20 January 2008

2w02 some consumption projects from other artists

"Window Shopper"
Mixed media collage on canvas, 48 x 60 inches
Courtesy Sikkema Jenkins & Co.

“The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive. The colors shift; the palette becomes very violent. If there’s a twenty- foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it’s changed.”
— Mark Bradford

"The Curiosity Shop"
Mixed media, 12 1/2 x 28 x 12 feet. Installation view: Tanya Bonakdar Gallery, New York. Private Collection, New York and Amsterdam
Courtesy Tanya Bonakdar Gallery, New York

“I’m constantly going to flea markets, yard sales, and junk stores and buying things specifically for projects, but also for myself and my friends. I try to keep these compartments stable but they tend to blur into one another, so an object may find its way into a work or into my private collections. I have very eccentric collections— oil cans, wooden mallets, stuffed birds, cabinet cards, photographs of boats and animals in zoos, and just dozens and dozens of things. It’s a way to continually be engaged with my work. Some artists paint, some sculpt, some take photographs, and I shop. That’s what I do.”
— Mark Dion

“Falling Bough”
Watercolor, gouache, ink and pencil on paper, 60 3/4 x 119 1/2 inches
Private collection, Tennessee
Courtesy Paul Kasmin Gallery, New York

“The passenger pigeons were the most numerous birds that ever lived in the history of the planet. It’s almost disturbing how numerous—billions upon billions of birds. It was a fecundity that was almost disgusting. I started thinking about a blame-the-victim kind of attitude you could take to that…to make it seem like they had it coming, that there was this disgusting empire of birds and that it was corrupt like Rome…that it was bound to fall. So I invest the passenger pigeons with every kind of sin that I can imagine. And the bough, this gigantic branch, is falling under their tremendous weight. Meanwhile they go about their bickering and their lusts and foibles and all the disgusting things that they are doing.”
— Walton Ford

Plasticine, ink and paper on canvas, 96 x 192 inches
The Eli Broad Family Foundation, Santa Monica, CA
Photo by Robert McKeever
Courtesy Gagosian Gallery, New York

“I’ve collected archival material from black photo journals from 1939 to 1972, looking at magazines like ‘Our World,’ ‘Sepia,’ and ‘Ebony.’ Initially I was attracted to the magazines because the wig advertisements had a grid-like structure that interested me. But as I began looking through them, the wig ads themselves had such a language to them—so worldly—that referred to other countries, La Sheba…this sort of lost past.”
— Ellen Gallagher

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