The Aldrich Contemporary Art Museum Founded by Larry Aldrich in 1964, The Aldrich Contemporary Art Museum is dedicated to fostering the work of innovative artists whose ideas and interpretations of the world around us serve as a platform to encourage creative thinking. The only museum in Connecticut devoted to contemporary art, The Aldrich has engaged its community with thought-provoking exhibitions and education programs throughout its fifty-two year history. Board of Trustees Eric G. Diefenbach, Chairman; Linda M. Dugan, Vice-Chairman; William Burback, Treasurer/Secretary; Diana Bowes; Chris Doyle; Annabelle K. Garrett; Georganne Aldrich Heller, Honorary Trustee; Michael Joo; Neil Marcus; Kathleen O’Grady; Lori L. Ordover; Martin Sosnoff, Trustee Emeritus; John Tremaine Alyson Baker, Executive Director Larry Aldrich (1906–2001), Founder © 2016 The Aldrich Contemporary Art Museum and Richard Klein Published by The Aldrich Contemporary Art Museum 258 Main Street Ridgefield, CT 06877, USA 203.438.4519 aldrichart.org ISBN: 978-0-9976615-0-7 Design: Gretchen Kraus Copy Editor: Jane Calverley Photography Support: Chris Manning Printer: Quad/Graphics, Inc. Photos by Tom Powel Imaging Cover Proposal for The Aldrich Museum No. 6: Re-enactment in the South Gallery of The Aldrich Museum of the Action that Caused a Cannonball to be Lodged in the North Façade of the Keeler Tavern (detail), 2016 Back Cover Proposal for The Aldrich Museum No. 6: Re-enactment in the South Gallery of The Aldrich Museum of the Action that Caused a Cannonball to be Lodged in the North Façade of the Keeler Tavern, 2016 Section of the Museum’s South Gallery wall at the Wooster Mountain Shooting Range, Danbury, Connecticut, April 25, 2016 Opposite Proposal for The Aldrich Museum No. 41: Installation of Wall Drawing Based on Three Wall Drawing Instruments Made of American Black Walnut Wood and Made With All the Colors From a Pack of Children’s Colored Pencils (detail), 2016 Courtesy of the artist and Sean Kelly Gallery, New York
Peter Liversidge: Proposals for The Aldrich Contemporary Art Museum Curated by Richard Klein May 1, 2016, to February 5, 2017 The Aldrich Contemporary Art Museum
Peter Liversidge: Proposals for The Aldrich Contemporary Art Museum is generously supported by Sean Kelly Gallery, New York, and Francis H. Williams and Keris Salmon, and is part of Site Lines: Four Solo Exhibitions Engaging Place, which has received major funding from the Anna-Maria and Stephen Kellen Foundation. Additional support is provided by Danbury Audi and DEDON, and CTC&G (Connecticut Cottages & Gardens) is the official media partner. The artist and the Museum are grateful to the following for their participation in the exhibition: John Wittorff, executive officer of Doughty’s Artillery, and John S. Taber, Captain of United Train of Artillery; Dean Price, director of the Wooster Mountain Shooting Range; Chris Durante Framing Studio; Louis Pascuzzi of Economy Sign; Nick and Dave Barzetti of Barzetti’s Welding; Ridgefield Fire Chief Kevin B. Tappe; Ridgefield Postmaster George Jacob and postal carrier Scherell Miller; Jerry Rabin and the staff of Ridgefield Hardware; Rudy Marconi, First Selectman of Ridgefield; Mary Reinfleisch, assistant director of the Ridgefield Library; Jack Baker of Litchfield Distillery; and the downtown merchants of Ridgefield who participated in the RBG light proposal. Peter Liversidge would like to thank George, Thomas and Cassie Liversidge; The Brothers; Levin Haegele; Peter Foolen; Sean Kelly, Lauren Kelly, and everyone at the Sean Kelly Gallery; Richard and Florence Ingleby and all at the Ingleby Gallery; the staff of The Aldrich Museum, including Richard Klein, exhibitions director; Tracy Moore, director of public programs & audience engagement; Rich Cooke, head preparator and facilities manager; Chris Manning, facilities and exhibition coordinator; Gretchen Kraus, graphic designer and Jamie Pearl, events manager.
PETER LIVERSIDGE
The Aldrich Contemporary Art Museum
Proposal for The Aldrich Museum No. 12: Twelve Groups of RGB (Red, Green, Blue) Lights Installed In and Around Ridgefield (details of six groups), 2016 Courtesy of the artist and Sean Kelly Gallery, New York 4
Peter Liversidge: Proposals for The Aldrich Contemporary Art Museum by Richard Klein I propose to let gravity do its work. -Peter Liversidge, from Proposals for The Aldrich Contemporary Art Museum
The proposal above was one of the total of sixty that Peter Liversidge wrote for his exhibition at The Aldrich Museum. It is not one of the proposals that was pursued for realization (twenty-five of the sixty have been), yet obviously a decision—one way or another—to let gravity do its work is rather preposterous, as its force is resolute despite our desires. For an artist to propose such an action would seem to indicate a belief that art (and the artist) have unlimited power. But what Liversidge is getting at by entertaining such an idea is not so much the power of art as the power of imagination. We do fight gravity, consistently, without ever thinking about it; yet suddenly, as per Liversidge’s suggestion, we have been prompted—at least momentarily—to consciously participate in its inevitability. Over the past one hundred years, we’ve come to understand that art can be almost anything when properly framed by the artist, and that ideas are part of the universe of raw materials that is available for the artist’s manipulation. However, “conceptual,” the term that is applied to art in which the artist’s intent is primarily to convey an idea and to play down or even negate the art object, isn’t really an adequate label to describe Liversidge’s approach to art making. The act of imagining, used as a descriptor of his core process, is more accurate, having at its root the word image, which covers a lot of territory—including creating an exact likeness of something, a vivid or graphic representation or description, or, most importantly, calling up a mental picture of something in the world. Looked at from
this perspective, Liversidge’s proposals that are not realized are as important as those that are, as they can be imagined in the bright light of the viewer’s mind. In the spring of 2015, Liversidge was invited to present an exhibition at The Aldrich and he visited the Museum that June, spending several days in Ridgefield exploring both the institution and the surrounding area. The experience of this visit, together with some subsequent research, led to his sitting at his manual Olivetti 35 typewriter (c. 1985) in London and giving himself the assignment—to be completed between Monday, September 7, and Sunday, October 4—of writing sixty proposals for possible works to be realized. It is important to note that Liversidge considers his proposals gentle invitations, not hard instructions—another distinction that separates his process from most art that is based on written directives. In addition, the realization of a specific proposal is always open to negotiation, a fact that reveals the artist’s interest in expanding conventional notions of authorship. The first proposal written proposed the writing of the next fifty-nine, seemingly a perverse gesture of the obvious, but an act that slyly reveals a major truth about the philosophical underpinnings of the artist’s work: nothing in human affairs happens, other than automatic bodily functions like breathing, without an initial thought that predicates an action. Doing is based on thinking, and much creativity is based in seemingly useless activities, such as daydreaming. Or, as Jeff Tweedy of the band Wilco wrote: fill up your mind with all it can know don’t forget that your body will let it all go fill up your mind with all it can know what would we be without wishful thinking?1 Liversidge doesn’t confine his proposals to specific media; rather, just like daydreaming, he allows his thought process free rein to imagine that art can be made of almost any raw material or utilize almost any human activity. Not that he doesn’t have a predilection for repeating certain ideas, for instance,
5
writing songs based on the experiences of a chosen group and having the songs sung by members of the group; making illuminated signs, in neon or with light bulbs, that physically manifest a proposal text; or creating a performance piece that consists of the creation of a “gin stand,” where the public is offered a free gin cocktail concocted by the artist and served in a hand-numbered, editioned glass. But what is important in these cases of proposing similar ideas is that their realization is open to interpretation and their manifestation is always different.
a Colonial-era building that is now a museum, is a cannonball fired by the British during the Battle of Ridgefield, a skirmish that occurred on April 27, 1777, during the Revolutionary War. (The cannonball is viewable via a small hatch on the exterior of the building.) Liversidge pondered the nature of the cannonball; particularly the way the object was a recording of a violent event and how over time it has become a passive display. Was it possible to recreate both the event and what museology has done to the object? Liversidge wrote the following proposal:
Liversidge was given the “assignment” (if you could call it that) of thinking about ways to connect the interior of the Museum with the surrounding community, and a majority of his proposals are based on specific facts about Ridgefield and/or the Museum itself. He loves working with individuals or groups that don’t think of themselves as artists or performers, and his project at The Aldrich involves proposals that rely on the cooperation of Ridgefield’s Fire Chief and Fire Department, the staff of the Museum, the employees of Ridgefield Hardware Store, and both the British and US postal systems and the mail carriers of Ridgefield’s Post Office. Alternately, he proposes works to be realized by professional performers or artists, but subverts expectations by having the specific performer/ artist do something that is unusual and outside their typical way of working. For example, one of his proposals (not realized) involved working with the Western Connecticut Youth Orchestra to create a new symphony for the town of Ridgefield that is based on, and takes its structure from, found sound recorded locally. It should be noted that Liversidge himself is not a musician, a fact that forces creativity to work in unexpected ways. Putting himself in the position of composing music, however, has recently pushed the artist to learn rudimentary musical notation and to acquire some basic conducting skills.
I propose to re-enact the action that caused a cannonball to become lodged in the north façade of the Keeler Tavern. This re-enactment will take place in the South Gallery, the cannon will be placed at one end of the gallery space aimed at the opposite wall, loaded with an identical cannonball as the one found at Keeler Tavern, and fired. This would be repeated until the cannonball becomes embedded within the wall.
During Liversidge’s initial visit to Ridgefield, he looked into local history and stumbled across the fact that embedded in the wall of the Keeler Tavern,
6
At first thought, realization of this proposal seemed far-fetched; however, wasn’t the consideration of the inconceivable a part of Liversidge’s practice as an artist? Discussions with the artist (and The Aldrich’s insurance company) led to the idea of making a copy of a section of the South Gallery’s wall and firing a cannonball at it outdoors from forty feet away—the same distance as if the cannon were actually in the gallery. The wall section, with its embedded cannonball, would be brought to the South Gallery and used to replace a section of the gallery’s wall that would be removed. John Wittorff and John Taber, the leaders of two Colonial-era artillery re-enactment groups, were recruited, and the Wooster Mountain Gun Range, an outdoor range just north of the Museum in Danbury, was contracted as the re-enactment location. On Monday, April 25, a three-pound cannonball— identical in diameter to the one at Keeler Tavern— was successfully fired at the copy of the South Gallery’s interior wall, and the section was moved and installed at the Museum. The resulting work is
complex, involving historical reference, unusual community collaborations, and a silent invitation to walk down Main Street to see the original cannonball at Ridgefield’s other museum, the Keeler Tavern. And let’s not forget the irony that Ridgefield’s “new” cannonball, echoing the past, was the result of the intent of a British citizen! As mentioned, a major element of Liversidge’s practice is collaboration with both groups and individuals who are not part of the art world. Beginning in 1992, Liversidge has done a series of “postal pieces” that involve the placement of postage stamps directly on found objects (most of them wooden). These are sent through the postal system to an exhibition location, where they are installed together on a shelf designed by the artist. Liversidge loves the potential to be found in hardware stores and many of the objects he sends through the mail originate on their shelves. Hardware stores, by their nature, imply action and problem solving as well as being repositories of an encyclopedic range of materials, a situation that appeals to his expansive approach to art making. Liversidge’s postal pieces are a recent addition to the genre of mail art, a movement that began in the late 1950s and 1960s with artists such as Ray Johnson in the United States and Robert Filliou and Ben Vautier, who were part of the Fluxus movement, in France. Most postal art involves communication between artists and, at least originally, the creation of preInternet artists’ networks; but Liversidge takes his work with mailing objects one step further by directly involving postal workers in the process—both on the sending and receiving ends.2 For instance, Liversidge often needs to negotiate the acceptance of one of his objects with a postal clerk as the postal system is set up to transport objects in boxes, not oddly shaped objects by themselves. For his exhibition at The Aldrich, the mail carrier that delivers mail to the Museum, Scherell Miller, will not only bring these objects into the Museum, but also determine the arrangement of them on the shelf made for their display, thereby directly contributing to the aesthetics of the artist’s exhibition. Liversidge’s postal shelves are not just conceptual exercises as they are quite (top to bottom) Proposal for The Aldrich Museum No. 6: Re-enactment in the South Gallery of The Aldrich Museum of the Action that Caused a Cannonball to be Lodged in the North Façade of the Keeler Tavern, 2016 Reenactment at Wooster Mountain Shooting Range, Danbury, CT, April 25, 2016 Proposal for The Aldrich Museum No. 16: Offer of a Spray Tan on the Non-Writing Hands of Museum Visitors as a Free Public Sculpture, 2016
beautiful, with their intriguing shapes animated by the artist’s selection of multi-colored stamps. Objects will be mailed to Ridgefield over the course of the exhibition, with the piece being finished only when the last object arrives. Proposal for The Aldrich Museum No. 20: Wooden Objects Posted to The Aldrich Museum from London, Installed on a Shelf in the Gallery, 2016 Object installation by postal carrier Scherell Miller Courtesy of the artist and Sean Kelly Gallery, New York
7
Among Liversidge’s sixty proposals is a group, including I propose to let gravity do its work, of more philosophical and opened-ended works. Functioning like Zen koans, they pose situations that defy singular meaning and definitive action. Other than in poetry, we generally depend on language to offer rational, linear trains of thought, particularly when it comes to a statement that proposes that we do something. But Liversidge’s one-line statements are really about how we interpret the written word, and more profoundly, how language itself shapes the way we think and perceive the world. Seen in this light, proposals such as I propose to be here when you come back are really the key for the whole set of proposals, as they force the reader into thinking beyond the usual unselfconscious ways that language guides our thoughts and experiences. Statements like this stop us in our tracks and encourage expansive thinking, implicating the reader in the artist’s inquiry into the relationship between thought, language, and action. This brings us to Liversidge’s fifty-ninth proposal for The Aldrich Museum, which has resulted in an odd spectacle for the residents of Ridgefield, as well as the very physical residue of a performance of sorts: I propose to further Samuel Johnson’s attempt to discredit Bishop Berkeley’s theory of the non-existence of matter. Bishop Berkeley put forward the theory that there are no material objects, only our minds, and ideas in those minds. It was not Bishop Berkeley’s intention that it should just relate to visual perception, but to perception in any of the five senses. Samuel Johnson responded to this theory, of the non-existence of matter, by declaring: “I refute it thus!” As he spoke those words he kicked a large stone. I intend that, whenever I come across a stone in Ridgefield that is a larger or similar size to my foot, I will stop what I am doing and I will kick that stone
1. 2. 3.
4.
8
to The Aldrich, into the Museum and to the South Gallery, where it will lie for the duration of the exhibition. Bishop George Berkeley (1685 -1753) was an Anglo-Irish philosopher who advanced the theory of immaterialism, which denied the existence of material substance and postulated that the world exists only in the mind. It should come as no surprise that Liversidge is interested in Berkeley, as both share a concern for how ideas mediate between the mind and the outside world.3 The twentiethcentury philosopher Ludwig Wittgenstein expressed the idea that “The limits of my language mean the limits of my world,”4 a belief that language and its structures confine and determine human knowledge and thought, as well as processes such as perception and categorization. Considered from a philosophical standpoint, Liversidge’s invitations to action—particularly his one-liners—seem to be an attempt to free thought from the determinism of language by throwing meaning back on the reader. They are paradoxes to be meditated upon as a way to abandon habitual thinking, and, perhaps most importantly, to help us understand that nothing of importance would ever happen if we didn’t act on imagination, no matter how improbable. At the moment that Johnson kicked the stone, idea (thought) became action, and the act, by being recorded in language, became metaphor. The vivid mental image that is generated of Johnson and his rock (and Liversidge’s act of recreation) are ingenious analogies of powerful ideas. Isn’t that what art is all about? Peter Liversidge was born in 1973 in Lincoln, UK; he lives and works in London.
“Wishful Thinking,” written by Jeff Tweedy and Glenn Kotche, from Wilco’s album A Ghost is Born (Nonesuch Records, New York, NY, 2004). In 1965 Ben Vautier created the first piece of mail art that involved the decision of a postal worker. Entitled The Postman’s Choice, it was a postcard with a stamp and a different address on each side. Johnson’s response to Berkeley’s theory suggests Johnson had not completely understood Berkeley’s point. Berkeley did not claim that stones did not exist or that kicking a stone will not produce sensation. He claimed the stone did not exist apart from the perception of its solidity or the perception of pain when it was struck. Berkeley spent the years 1728 to 1732 in Rhode Island, and this brief stay had an influence on the evolution of an independent American intellectual identity. The University of California, Berkeley, is named after him. Ludwig Wittgenstein, Tractatus Logico-Philosophicus, trans. C.K. Ogden (London: Routledge & Kegan Paul, 1922; reprint Mineola, New York: Dover Publications, 1999), p. 88.
(clockwise from top left) Proposal for The Aldrich Museum No. 9: Nutmeg Essence Added to the Water of the Watertanks of the Ridgefield Fire Department’s Fire Trucks for the Duration of the Exhibition, 2016 Firefighter Ryan Eckhoff adding nutmeg essence to the water of Ridgefield Fire Department’s Engine 1 Proposal for The Aldrich Museum No. 59: Further Attempt to Discredit Bishop Berkeley’s Theory of the Non-Existence of Matter, 2016 Artist kicking stone down Ridgefield’s Main Street to the Museum
Proposal for The Aldrich Museum No. 52: Installation of Nine, Shallow, Circular Aluminum Trays Whose Circumference Relates to the Nine Largest Lakes in Connecticut, Filled with Water from Those Lakes, 2016 Artist gathering water from Lake Waramaug, New Preston, CT Proposal for The Aldrich Museum No. 20: Wooden Objects Posted to The Aldrich Museum from London, Installed on a Shelf in the Gallery, 2016 Postal worker accepting objects from artist at Bethnal Green post office, London Courtesy of the artist and Sean Kelly Gallery, New York
9
11
(previous page) Proposal for The Aldrich Museum No. 60: Text Piece for The Aldrich AT THIS POINT AND NO OTHER, 2016 Installation view on “Old Hundred,” The Aldrich administration building (clockwise from above) Proposal for The Aldrich Museum No. 32: Invitation to Guitarist Keith Richards to Perform in Gallery, 2016; Proposal for The Aldrich Museum No. 59: Further Attempt to Discredit Bishop Berkeley’s Theory of the Non-Existence of Matter, 2016 Proposal for The Aldrich Museum No. 1: Writing a Group of Proposals, 2016 Detail of Proposals No. 9 and 10 Proposal for The Aldrich Museum No. 52: Installation of Nine, Shallow, Circular Aluminum Trays Whose Circumference Relates to the Nine Largest Lakes in Connecticut, Filled with Water from Those Lakes, 2016 Courtesy of the artist and Sean Kelly Gallery, New York 12
13
Proposal for The Aldrich Museum No. 1: Writing a Group of Proposals, 2016 Installation view of 60 typewritten proposals Courtesy of the artist and Sean Kelly Gallery, New York 14
Works in the Exhibition All dimensions h x w x d in inches Proposal for The Aldrich Museum No. 1: Writing a Group of Proposals, 2016 60 typewritten texts on paper, painted wood frames Each 11 ½ x 8 ¼ Proposal for The Aldrich Museum No. 2: Collation of Proposals into a Bookwork, 2016 72-page perfect bound book, edition of 250 8 ⅜ x 6 ⅝ x 5⅛ Proposal for The Aldrich Museum No. 6: Re-enactment in the South Gallery of The Aldrich Museum of the Action that Caused a Cannonball to be Lodged in the North Façade of the Keeler Tavern, 2016 Three-pound lead cannonball, drywall, plywood 2½x2½x3½ Proposal for The Aldrich Museum No. 9: Nutmeg Essence Added to the Water of the Watertanks of the Ridgefield Fire Department’s Fire Trucks for the Duration of the Exhibition, 2016 Nutmeg essence, water, fire trucks Dimensions variable Proposal for The Aldrich Museum No. 10: Cut Paper Silhouette of Samuel Goodrich, Jr. Installed on this Proposal, 2016 Black cardstock on typewritten text on paper, painted wood frame 11 ½ x 8 ¼ Proposal for The Aldrich Museum No. 12: Twelve Groups of RGB (Red, Green, Blue) Lights Installed In and Around Ridgefield, 2016 36 gobo projectors, colored glass dichroic filters, metal enclosures, wiring Dimensions variable Proposal for The Aldrich Museum No. 14: Choral Piece Written For and Performed By the Employees of Ridgefield Hardware, 2016 Vocal performance Performance length variable Proposal for The Aldrich Museum No. 16: Offer of a Spray Tan on the Non-Writing Hands of Museum Visitors as a Free Public Sculpture, 2016 Aerosol spray tan, hands Dimensions variable Proposal for The Aldrich Museum No. 17: Public Meal of Homemade Sausages, Salad, Bread, Wine, and Locally Brewed Beer, 2016 Meal offered to 500 Museum visitors on July 9, 2016
Proposal for The Aldrich Museum No. 20: Wooden Objects Posted to The Aldrich Museum from London, Installed on a Shelf in the Gallery, 2016 Wooden objects, postage stamps, acrylic paint, wood shelf Object installation by postal carrier Scherell Miller Dimensions variable Proposal for The Aldrich Museum No. 23: Glazing of Two Groups of Framed Proposals with Colored Plexiglas, 2016 First group: neutral 914, blue 7704, green 6T21; second group: mars red 4T56, lava orange 3T19, helios yellow 2T51, acid green 6T66, and neptune blue 7T97 Colored acrylic plastic sheets Each 12 ½ x 9 x ⅛ Proposal for The Aldrich Museum No. 32: Invitation to Guitarist Keith Richards to Perform in Gallery, 2016 Fender Bassman 100 guitar amplifier, Legion GC-212 speaker, guitar cord Dimensions variable Proposal for The Aldrich Museum No. 33: Collage of Three Shapes, Two Circles and One Crescent, Directly on the Surface of this Proposal, 2016 Black cardstock on paper with typewritten text, painted wood frame 11 ½ x 8 ¼ Proposal for The Aldrich Museum No. 37: Installation of Reading Library, Listening Post, and Video Station on the Museum’s Bridge, 2016 Furniture, books, “sound dome” with iPod; flat screen monitor with flash drive 8 x 18 x 8 feet, audio and video content times variable Proposal for The Aldrich Museum No. 41: Installation of Wall Drawing Based on Three Wall Drawing Instruments Made of American Black Walnut Wood and Made With All the Colors From a Pack of Children’s Colored Pencils, 2016 Colored pencil on wall 13 x 40 feet Proposal for The Aldrich Museum No. 42: First Four Visitors to the Exhibition on Any Given Day Offered an Apple, 2016 Connecticut apples, metal basket 7½x9x8 Proposal for The Aldrich Museum No. 43: Covering Proposal that Proposes to Investigate Coincidence with a Piece of Mirror, 2016 Glass mirror, typewritten text on paper, painted wood frame 12 ½ x 9 x ⅛
Proposal for The Aldrich Museum No. 45: Curation of Music Festival for Venues in Ridgefield, 2016 (Details still in formation as of May 26, 2016) Proposal for The Aldrich Museum No. 50: Installation of a Pair of Polaroids, 2016 Three pairs of Fuji FP-1000 instant photographs, mats, painted wood frames Each print 3 ⅜ x 4 ½ Proposal for The Aldrich Museum No. 51: Public Sculpture Created by 100 Guests Out of 100 Rolls of Pennies, 2016 5,000 US pennies Dimensions variable Proposal for The Aldrich Museum No. 52: Installation of Nine, Shallow, Circular Aluminum Trays Whose Circumference Relates to the Nine Largest Lakes in Connecticut, Filled with Water from Those Lakes, 2016 Welded aluminum, epoxy paint, water from lakes Candlewood, Lillinonah, Bantam, Zoar, Waramaug, East Twin, Highland, Woodridge, and Housatonic Installation dimensions variable Proposal for The Aldrich Museum No. 54: Gin Performance, 2016 Gin, tonic, ice, cucumber, lime, lemon, gin stand (cardboard, acrylic paint), knife, cutting board, two servers with uniforms, and found glasses etched with the date, edition number, location, and word GIN Glasses in edition of 210 Performed for guests at The Aldrich Museum’s Gala, May 1, 2016 Proposal for The Aldrich Museum No. 58: Proposal Gilded with Genuine Silver Leaf, 2016 Silver leaf on typewritten text on paper, painted wood frame 11 ½ x 8 ¼ Proposal for The Aldrich Museum No. 59: Further Attempt to Discredit Bishop Berkeley’s Theory of the Non-Existence of Matter, 2016 Stones from Ridgefield, kicked to the Museum by the artist Dimensions variable Proposal for The Aldrich Museum No. 60: Text Piece for The Aldrich AT THIS POINT AND NO OTHER, 2016 Text piece made with light bulbs, powdercoated aluminum, wiring 12 ¾ x 5 inches x 25 feet All works courtesy of the artist and Sean Kelly Gallery, New York
15
258 Main Street Ridgefield, CT 06877 203.438.4519 aldrichart.org 16