Gerard&Kelly Art Book

RYAN KELLY Record of Creative Work 2013

BRENNAN GERARD Record of Creative Work 2013

Brennan Gerard

University of California Los Angeles

Record of Creative Work A comprehensive exam report submitted in partial satisfaction of the requirements for the degree Master of Fine Arts in the Department of Art, Interdisciplinary Studio Area by

Brennan Gerard

2013 All artwork and statements included in this document were co-authored by Brennan Gerard and Ryan Kelly.

curriculum vitae

Brennan Gerard

Performances (with Ryan Kelly)

(b. 1978, Piqua, OH) Lives and works in Los Angeles, CA

2012 Recto/Verso, CCS Bard Center for Curatorial Studies, Annandaleon-Hudson, NY; LACE | Los Angeles Contemporary Exhibitions, Los Angeles, CA

Education 2013 MFA, Interdisciplinary Studio, University of California, Los Angeles, CA 2010 Whitney Museum Independent Study Program, New York, NY 2001 BA cum laude with distinction in major, Women’s and Gender Studies, Yale University, New Haven, CT

Teaching Experience 2012-2013 Teaching Associate, University of California, Los Angeles, CA (Special Topics in Studio, Modernism)

2011 Reusable Parts/Endless Love, Danspace Project, New York, NY 2010 I deological Formation, Mount Tremper Arts Festival, Phoenecia, NY; Carpe Diem Arte e Pesquisa, Lisbon, Portugal; The Kitchen, New York; NY You Call This Progress?, Volta Art Fair, New York, NY; Burning Bridges, New York, NY

Armory Show, Park Avenue Armory, New York, NY

2009 L ast Dance, HOT! Festival, Dixon Place, New York, NY; Park Avenue Armory, New York, NY Dutch Skies, Maastricht Toneelstad Festival, Maastricht, The Netherlands

2010-2012 Teaching Assistant, University of California, Los Angeles, CA (Modernism)

Grants/Fellowships 2013 University of California Institute for Research in the Arts, UCLA Arts Initiative, and UCLA Campus Programs Committee Grants in support of symposium “Dancing with the Art World” 2012 Lillian Levinson Foundation Scholarship, Regents Stipend, Samuel Booth Art Scholarship, and Conference Travel and Research Grant, University of California, Los Angeles, CA 2011 Powell Bucknell Scholarship and Regents Stipend, University of California, Los Angeles, CA 2010 Van Lier Fellowship, Whitney Museum Independent Study Program, New York, NY 2004-2005 Fulbright Grant, France 2001 James M. Metcalfe Prize in Theater Studies and Yale Gay and Lesbian Alumni Association Prize, Yale University, New Haven, CT

Solo Exhibitions (with Ryan Kelly) 2013 MFA Thesis Exhibition, New Wight Gallery, University of California, Los Angeles, CA

Kiss Solo, Kate Werble Gallery, New York, NY

Group Exhibitions (with Ryan Kelly) 2013 L.A. Existancial, LACE | Los Angeles Contemporary Exhibitions, Los Angeles, CA (curated by Marie de Brugerolle) 2012 A nti-Establishment, CCS Bard Center for Curatorial Studies and Hessel Museum of Art, Bard College, NY (curated by Johanna Burton, catalogue) 2011 Irrational Exhibits 8, Track 16 Gallery, Santa Monica, CA

C ult of the Ruin: Strategies of Accumulation, University Art Gallery, University of California, Irvine 2010 Whitney ISP Studio Program Exhibition, Art in General, New York, NY

2007 I mpermanent Collection, Whitney Live at the Whitney Museum of American Art, New York, NY XLS, The Renaissance Society, Chicago, IL; in collaboration with ICE | International Contemporary Ensemble

It’s My Party, Greenwich Music Festival, Greenwich, CT

59 (sixty minus one), Elizabeth Foundation for the Arts (EFA) Project Space, New York, NY 2006 SIXTY, La Générale, Paris, France

Mass Particle No. 1, Abrons Art Center, New York, NY

Without, Dance New Amsterdam, New York, NY 2005 W ithout, Works & Process Series at the Guggenheim Museum, New York, NY

Other Collaborative Projects 2012 N ews Animations (or That Fish is Broke), Danspace Project at St. Mark’s Church, New York, NY; The Box Gallery, Los Angeles, CA; and Made in LA Biennial, Hammer Museum, Los Angeles, CA; in collaboration with Simone Forti and Luke Johnson 2011 D ance Constructions, The Box Gallery, Los Angeles, CA; choreographer Simone Forti

Selected Bibliography

Published Writings

Hana Cohn, Interview, Graphite Interdisciplinary Journal of the Arts no. 4 (2013).

Anti-Establishment exhibition catalogue, CCS Bard Center for Curatorial Studies, Annandale-on-Hudson, NY, 2012.

Litia Perta, “Critic’s Picks: Brennan Gerard and Ryan Kelly,” Artforum.com February 9, 2013.

Peter Plagens, “Imagism and Alienation,” The Wall Street Journal January 19-20, 2013: A20.

“Being Contemporary,” PAJ: A Journal of Performance and Art 34, no. 1 (2012): 93-110.

“Untitled (Human Microphone),” Box of Books Vol. IV (Los Angeles: Darin Klein & Friends, 2011).

Deborah Jowitt, “Portaging the 60s into 2012,” Arts Journal November 13, 2012.

“LALALALANDIA,” The Brooklyn Rail (September 2011).

Andrew Boynton, “No Mistakes: Simone Forti, The New Yorker November 15, 2012.

Context Notes for Dance Theater Workshop programs, 2010-2011 season Ken Johnson, “Art Begetting Art (and Social Commentary, Too),” The New York Times July 5: C23.

Jess Wilcox, “Touching on Reusable Parts/Endless Love,” Interventions Journal January 26, 2012.

Marissa Perel, “Set Me Free! Performa 2011: Part II, Beyond the Beyond” Art 21 November 29, 2011.

Christine Hou, “Queering Performance,” Hypothetical Arrangements November 14, 2011.

Claudia LaRocco, “Returning One Kind of Kiss with a Kiss-Off,” The New York Times November 13, 2011: C5.

Roslyn Sulcas, “Dance Listings for Nov. 4-10,” The New York Times November 2, 2011.

Stacy Davies, “Past Tense, Present Purpose,” OC Weekly January 20, 2011.

Patricia Milder, “Beautiful Young Men Dancing to Music: Brennan Gerard, Ryan Kelly” artcritical September 11, 2010.

David Everitt Howe, “Progress Performed,” Art in America August 11, 2010.

Gia Kourlas, “A Grand Showplace Seen From All Angles,” The New York Times February 22, 2010: C7.

Conferences/Symposia 2013 Symposium co-organizer: “Dancing with the Art World,” Hammer Museum, University of California, Los Angeles, CA, April 26-27 2012 Conference: “Post-Performance Future,” École nationale supérieure des beaux-arts de Lyon, December 4-5; screening and paper: “Re-enactment, Restaging, Remake? ‘The Same, But An Other’”

Visting Artist Lectures 2012 CCS Bard Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, September 17

Artist Residencies 2008-2010 Park Avenue Armory, New York, NY 2007 Elizabeth Foundation for the Arts (EFA) Project Space, New York, NY 2006-2007 Chez Bushwick, Brooklyn, NY 2006 Watermill Center Residency Program, Southampton, NY 2004 Morris Center Dance Institute, Bridgehampton, NY

Claudia La Rocco, “A Kiss is Just a Kiss?” WNYC Performance Club April 16, 2010.

Professional Service

Jack Anderson, “Armory Show,” New York Theatre Wire February 24, 2010.

2003-present

Susan Yung, “Armed with Dance Moves,” Thirteen February 25, 2010.

2010 Panelist for Grants (Dance), New York City Department of Cultural Affairs, New York, NY

Claudia La Rocco, “What We Saw at the Armory,” WNYC Performance Club February 22, 2010.

Susan Reiter, “Arm Yourself: The Park Avenue Armory Opens Itself to Dance,” New York Press February 16, 2010.

Gia Kourlas, “Making Art Onstage Near Art on the Walls,” The New York Times December 11, 2007.

Roslyn Sulcas, “Impermanent Collection,” The New York Times December 7, 2007.

Deborah Jowitt, “Anything Can Go,” The Village Voice October 30, 2006.

Ryan Tracy, “The Verge of Disorganization,” culturebot August 17, 2005.

Trescha Weinstein, “Many Hands: Performance Work is the Result of an Unusual Artistic Collaboration,” Times Union July 10, 2003.

Founder and Co-Director, Moving Theater, New York, NY

2008 Panelist for Grants (Dance), New York City Department of Cultural Affairs, New York, NY

Professional Organizations College Art Association (CAA), New York, NY

Reusable Parts/ Endless Love 2011 Performance, duration variable

Speaking surreptitiously into a cell phone, we described the movements of a male and female couple performing Tino Sehgal’s Kiss at the Guggenheim Museum in March 2010.

This action generated a 12-minute audio score.

Score 00:00-00:12 1. A dancer puts on a set of headphones in which he hears our audio score for Kiss. The dancer’s task is to simultaneously re-speak the score into a microphone. The microphone also captures the slurs, slips, and mistakes made while performing this task.

00:12-00:24

00:24-00:36

2. His voice now played back and amplified in the space, the dancer from operation 1 performs a literal interpretation in movement of the score, enacting both male and female roles on his own body.

3. Layered on top of one another, the two recordings made by both dancers are played back and amplified in the space.

They perform simultaneous solos, each a literal interpretation in movement of the audio score and an enactment of both male and female roles.

In another part of the space, a second dancer emerges from the audience, approaches a microphone, and puts on a set of headphones. As in operation 1, the second dancer’s task is to simultaneously re-speak the score into a microphone, which records but does not amplify his voice.

Meanwhile, in another part of the space, a third dancer emerges from the audience, approaches a microphone, puts on a set of headphones, and repeats operation 1.

00:36-00:48

00:48-00:60

4. With the score now heard as an overlay of three voices, the third dancer joins the other two to perform a trio of simultaneous solos. A fourth dancer approaches a microphone and observes the movements of the other three. His task is to describe the choreography of this trio. This action generates a new 12-minute score.

5. The newly created score is played back and amplified in the space. The score is performed as a duet watched by two other dancers. As a duet, the dancers negotiate the roles they hear in the score while each dancer watching the duet makes a notation of the duet’s choreography as he sees it. The four dancers change parts over the course of the twelve minutes.

This operation generates two new scores recorded in each of the two microphones.

00:60-00:72

00:72-∞

6. A recording from one of the microphones used in operation 5 is played back into the headphones of all four dancers.

They perform simultaneous solos responding to a score the audience does not hear.

7. The recording from the other microphone used in operation 5 becomes the starting point for another manifestation, to begin immediately or at another point in time‌ The Endless.

Kiss Solo 2012 Four-channel video and audio installation, dimensions variable

statement

Our MFA thesis exhibition was comprised of two overlapping projects, Interval and Recto/Verso, both concerned with the specific space and time of being in-between other spaces and events.

The Oxford English Dictionary, Third Edition, lists multiple definitions for interval, a word whose appearances coalesce in the early 17th century around the general meaning of a period of time between events, especially events in a performance (the interval between acts in a play, for instance). The second definition is more poetic: “the space of time” that exists between any two points of time, or “any intervening time.”

An interval could be an intervention that spatializes time.

Related, an event can occur at intervals, “now and again, not continuously,” or by intervals, alternately. The third definition abandons time altogether: an open space lying between two things or two parts of the same thing; a gap, opening.

In this sense, at intervals would mean things that are here and there, objects at some distance from one another. As is often the case in the OED, things get more interesting as the entry proceeds and specialized language takes hold.

In music, an interval is the difference of pitch between two notes: in harmony this difference is simultaneous; in melody, successive. As a figure of speech, interval describes the “distance between persons in respect of position, endowments, beliefs, etc.” In mathematics, especially set theory, an interval (open or closed) is “a set composed of all the numbers between two given numbers.” The interval (1,2) would include any number that lies between 1 and 2, as well as 1 and 2, such that 1 ≤ x ≤ 2. An empty set { } is an interval that has no elements, a phenomenon that exists only in theory.

A pause, a gap, an opening, a difference of pitch, a distance, everything between one and two, an empty set: Interval consists of 65 sheets of 4x8 plywood mapping the floor plan of the UCLA New Wight Gallery. These modular units are rotated 45 degrees against the grid of the building’s architecture.

One side of the exhibition space (+) is built out in this rotation.

Where the angled floor intersects with perimeter walls, it runs up them. Negative space indexes a dividing wall. The other side of the exhibition space (-) inverts this logic: the dividing walls are filled in, creating a series of plywood intervals bisecting the galleries and walls.

Positive and negative procedures interlock to materially rearticulate the site using its existing systems. Interval intervenes in the display conditions operative in the UCLA MFA exhibition format in order to ask how these conditions set the terms for relations that form within—among participating artists, between artworks and spectators, etc. By rearticulating the institutional frame of the exhibition, we are trying to show how the terms for relationality and exchange can be momentarily reset for the duration of an exhibition.

Our score for building Interval highlights those moments often overlooked in a building—the dividing walls in a room, the floor, the passage in time through space. The work both brings attention to and interrupts the separation of artistic practices into distinct domains. Like the materiality of relations themselves, this intervention is interim and site-specific.

At the end of the exhibition, the work will be taken apart and repurposed.

Interval presents an ambiguous identity, spiraling around the terms of stage, sculpture and floor. On the (-) side, filledin footprints of dividing walls appear as planks on the floor, relatively autonomous objects that interact visually and sometimes physically with other artists’ work. The larger mass of the (+) side partially reconstitutes the floor of the exhibition space to support the movement of bodies. Interval functions as stage and plinth, the technical support of performances and other artworks. It holds up and presents bodies, texts, and objects, converging these terms around a shared identity as self-presenting presences.

fig. 1, Floor Score, 2013; graphite on inkjet print; 6 × 9 inches fig. 2, Preparatory drawing for Interval, detailing negative 45° turn fig. 3, Preparatory drawing for Interval, detailing plywood schedule

Interval 2013 4Ă— 8 plywood sheets on frame, cut to dimensions

Recto/ Verso 2012–13 Performance, duration variable

restatement

Our MFA thesis exhibition was comprised of two overlapping projects, Interval and Recto/Verso, both concerned with the specific space and time of being in-between other spaces and events.

If Interval attempts to articulate within the conditions of the exhibition an ambiguous and interlocking identity structured by relations to existing systems and others in a social field, Recto/Verso—consisting of three scores, Clocks, Timeline and Calendar—explores this dynamic model of subjective formation in the context of a relationship between two people.

Recto/Verso is conceived as an ongoing process of enactment and analysis of the relation of the couple. The performances improvise a model of relationality that resists the imperative of two becoming one (to reproduce). The project asks how desire positions each individual of this unit differently in relation to the aspiration to remain in sync.

When the two clocks of Master/Slave—one cycling forward, the other backwards—meet, a performance may or may not take place. The clocks, one synced to the other, cycle on military time and display not the local time but the time of performance—how long it has been since the performers last appeared and how long until they may appear again.

In the performance of the score Clock, two performers each enact the mechanics of a clock using their bodies in space, interacting with one another by falling in and out of sync. Calendar uses one performer’s agenda as a score for motivating the other performer’s clock. While the first performer reads aloud his appointments, indicating start and end times, the other uses these times as cues for performing his clock. Over time, the performers’ shared agenda emerges in overlapping professional and social obligations.

Timeline opens the relation to history and memory. Two performers circle the room in an interlocking floor pattern, walking side by side at first. One recites a chronology of personal, political, cultural, and geological events that structure his appearance at this moment of the performance.

The list starts with “Now” and moves back in time as the body moves forward in space. When memory falters, the other picks up with his own timeline, linking his starting point in association to something the other has said. Strips of events line the floor of Interval, stenciled in positive and negative, serving as cues for the performance. Relationships form over time but so do political identities and oppositional movements.

The interwoven chronologies inform one another, producing a narrative of reverse chronology as the performance proceeds.

The final work, Stereo, consists of two identical speakers hanging side by side near to the floor of the gallery. One channel plays back the speaker’s account of the objects seen while walking the perimeter of a domestic space, indicating at times their possession by the speaker or his co-habitant (“my slippers, his notebook”). The second channel plays back a second speaker’s reading of every headline printed in The New York Times mentioning “same-sex marriage” since the term’s first appearance in the newspaper in 1996. In order to hear the voices, the listener must position himself on the floor of the gallery; he can only hear one track at a time and must move beneath the two in order to listen to both.

In this constellation of works constituting Interval and Recto/ Verso, our political imperative is ultimately to question how this institution—of the exhibition space—may be re-formatted so as to reflect on the ideological conditions of other institutions—the family, marriage. We are concerned with how these institutions, in and outside art, structure the interstitial experience of relationality. At this point in time, and in our lives, the institution most in need of rearticulation is that of marriage.

fig. 1, Master/Slave, 2012; installation view at CCS Bard Center for Curatorial Studies and Hessel Museum of Art fig. 2, Preparatory drawing for Timeline, 2013 fig. 3, Stereo, 2013; installation view at UCLA New Wight Gallery

Mono 2012 Three chairs, performance, duration variable

Performed for the duration of the opening of an exhibition.

Prompted by a spectator joining them in the empty chair, two performers alternate re-speaking a private conversation.

When speaking, each performer plays both roles in the conversation, shifting his gaze to implicate the spectator as one of the addressed. The spectator is invited to sit in the available chair for as long as he/she wishes. When he/she leaves, the conversation halts until another spectator joins.

Master/ Slave 2012 Clocks, plinth, plexiglass, 48 Ă—48 Ă—16 inches

PRRBBLM SOLLVD 2012 Luxury vehicles with customized license plates, dimensions variable

Two luxury sedans are leased for the duration of graduate review and open studios. Their license plates are swapped out for customized plates purchased through the California Department of Motor Vehicles. The work is unannounced; the two vehicles are parked side by side in the parking lot outside the graduate art students’ studios.

Score in Four Parts 2011 Chromogenic prints mounted on museum box Set of four, each 16 Ă— 32 inches

Untitled Performance Stills 2011 Chromogenic print mounted on dibond, 13 Ă—114 inches

Untitled (Human Directional) 2011 Performance, duration variable

A worker contracted through an advertising company specializing in human directional services (i.e., sign-twirlers) spins a sign bearing the logo of the advertising company on one side and the artists’ logo on the other. The advertising company is paid $25 per hour, of which the worker receives $9.25 per hour.

A worker contracted by the artists in the parking lot of Home Depot in downtown Los Angeles is paid $9.25 per hour to fabricate a sign and hold it over his body for the duration of the performance. The sign contains this score.

A wall separates them.

“LALALALANDIA,” The Brooklyn Rail (September 2011).

Jess Wilcox, “Touching on Reusable Parts/Endless Love,” Interventions Journal January 26, 2012.

“Untitled (Human Microphone),” Box of Books Vol. IV (Los Angeles: Darin Klein & Friends, 2011).

Ken Johnson, “Art Begetting Art (and Social Commentary, Too),” The New York Times July 5: C23.

“Being Contemporary,” PAJ: A Journal of Performance and Art 34, no. 1 (2012): 93-110.

Peter Plagens, “Imagism and Alienation,” The Wall Street Journal January 19-20, 2013: A20.

Anti-Establishment exhibition catalogue, CCS Bard Center for Curatorial Studies, Annandale-on-Hudson, NY, 2012.

Litia Perta, “Critic’s Picks: Brennan Gerard and Ryan Kelly,” Artforum.com February 9, 2013.

Published Writings

Selected Bibliography

Context Notes for Dance Theater Workshop programs, 2010-2011 season Marissa Perel, “Set Me Free! Performa 2011: Part II, Beyond the Beyond” Art 21 November 29, 2011.

Christine Hou, “Queering Performance,” Hypothetical Arrangements November 14, 2011.

Claudia LaRocco, “Returning One Kind of Kiss with a Kiss-Off,” The New York Times November 13, 2011: C5.

Roslyn Sulcas, “Dance Listings for Nov. 4-10,” The New York Times November 2, 2011.

Stacy Davies, “Past Tense, Present Purpose,” OC Weekly January 20, 2011.

Patricia Milder, “Beautiful Young Men Dancing to Music: Brennan Gerard, Ryan Kelly” artcritical September 11, 2010.

David Everitt Howe, “Progress Performed,” Art in America August 11, 2010.

Gia Kourlas, “A Grand Showplace Seen From All Angles,” The New York Times February 22, 2010: C7.

Claudia La Rocco, “A Kiss is Just a Kiss?” WNYC Performance Club April 16, 2010.

Jack Anderson, “Armory Show,” New York Theatre Wire February 24, 2010.

Susan Yung, “Armed with Dance Moves,” Thirteen February 25, 2010.

Claudia La Rocco, “What We Saw at the Armory,” WNYC Performance Club February 22, 2010.

Conferences/Symposia 2013 Symposium co-organizer: “Dancing with the Art World,” Hammer Museum, University of California, Los Angeles, CA, April 26-27 2012 Conference: “Post-Performance Future,” École nationale supérieure des beaux-arts de Lyon, December 4-5; screening and paper: “Re-enactment, Restaging, Remake? ‘The Same, But An Other’”

Visting Artist Lectures 2012 CCS Bard Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, September 17

Artist Residencies 2008-2010 Park Avenue Armory, New York, NY 2007 Elizabeth Foundation for the Arts (EFA) Project Space, New York, NY 2006-2007 Chez Bushwick, Brooklyn, NY 2006 Watermill Center Residency Program, Southampton, NY 2004 Morris Center Dance Institute, Bridgehampton, NY

Professional Service 2003-present

Susan Reiter, “Arm Yourself: The Park Avenue Armory Opens Itself to Dance,” New York Press February 16, 2010.

Gia Kourlas, “Making Art Onstage Near Art on the Walls,” The New York Times December 11, 2007.

Roslyn Sulcas, “Impermanent Collection,” The New York Times December 7, 2007.

Founder and Co-Director, Moving Theater, New York, NY

2008 Panelist for Grants (Dance), New York Foundation for the Arts, New York, NY

Professional Organizations College Art Association (CAA), New York, NY

Deborah Jowitt, “Anything Can Go,” The Village Voice October 30, 2006.

Ryan Tracy, “The Verge of Disorganization,” culturebot August 17, 2005.

Trescha Weinstein, “Many Hands: Performance Work is the Result of an Unusual Artistic Collaboration,” Times Union July 10, 2003.

curriculum vitae

2012 Recto/Verso, CCS Bard Center for Curatorial Studies, Annandaleon-Hudson, NY; LACE | Los Angeles Contemporary Exhibitions, Los Angeles, CA

(b. 1979, Hazleton, PA) Lives and works in Los Angeles, CA

Performances (with Brennan Gerard)

Ryan Kelly

Education 2013 MFA, Interdisciplinary Studio, University of California, Los Angeles, CA 2010 Whitney Museum Independent Study Program, New York, NY 2008 BA, Comparative Literature, Fordham University, New York, NY 1998 Certificate of Completion, School of American Ballet, New York, NY

Teaching Experience

2011 Reusable Parts/Endless Love, Danspace Project, New York, NY 2010 I deological Formation, Mount Tremper Arts Festival, Phoenecia, NY; Carpe Diem Arte e Pesquisa, Lisbon, Portugal; The Kitchen, New York; NY You Call This Progress?, Volta Art Fair, New York, NY; Burning Bridges, New York, NY

Armory Show, Park Avenue Armory, New York, NY

2009 L ast Dance, HOT! Festival, Dixon Place, New York, NY; Park Avenue Armory, New York, NY

XLS, The Renaissance Society, Chicago, IL; in collaboration with ICE | International Contemporary Ensemble

Grants/Fellowships

2007 I mpermanent Collection, Whitney Live at the Whitney Museum of American Art, New York, NY

2010-2012 Teaching Assistant, University of California, Los Angeles, CA (Modernism)

Dutch Skies, Maastricht Toneelstad Festival, Maastricht, The Netherlands

2012-2013 Teaching Associate, University of California, Los Angeles, CA (Art Encounters, Modernism)

2013 University of California Institute for Research in the Arts, UCLA Arts Initiative, and UCLA Campus Programs Committee Grants in support of symposium “Dancing with the Art World” 2012 UCLA School of the Arts and Architecture Dean’s Award, University of California, Los Angeles, CA, and Conference Travel and Research Grant, University of California, Los Angeles, CA 2011 Lillian Levinson Foundation Scholarship, D’Arcy Haymans Scholarship, and Resnick Scholarship, University of California, Los Angeles, CA 2010 Van Lier Fellowship, Whitney Museum Independent Study Program, New York, NY

Solo Exhibitions (with Brennan Gerard) 2013 MFA Thesis Exhibition, New Wight Gallery, University of California, Los Angeles, CA

Kiss Solo, Kate Werble Gallery, New York, NY

Group Exhibitions (with Brennan Gerard) 2013 L.A. Existancial, LACE | Los Angeles Contemporary Exhibitions, Los Angeles, CA (curated by Marie de Brugerolle) 2012 A nti-Establishment, CCS Bard Center for Curatorial Studies and Hessel Museum of Art, Bard College, NY (curated by Johanna Burton, catalogue) 2011 Irrational Exhibits 8, Track 16 Gallery, Santa Monica, CA

C ult of the Ruin: Strategies of Accumulation, University Art Gallery, University of California, Irvine

It’s My Party, Greenwich Music Festival, Greenwich, CT

59 (sixty minus one), Elizabeth Foundation for the Arts (EFA) Project Space, New York, NY 2006 SIXTY, La Générale, Paris, France

Mass Particle No. 1, Abrons Art Center, New York, NY

Without, Dance New Amsterdam, New York, NY 2005 W ithout, Works & Process Series at the Guggenheim Museum, New York, NY

Other Selected Performance Work 2012 S ecret Mary, Tere O’Connor Dance, New York Live Arts, New York, NY; River to River Festival, New York, NY; choreographer Tere O’Connor 2004-08

L igetti Essays and Time is the echo of an axe within the wood, Armitage Gone! Dance, The Joyce Theater, New York, NY; US tour, multiple venues; Venice Bienale Dance, Venice, Italy; choreographer Karole Armitage 2005 G ezeiten, Sasha Waltz & Guests, St. Elizabeth-Kirche, Berlin, Germany; choreographer Sasha Waltz 1998-2002 Company repertory, New York City Ballet, New York State Theater, New York, NY; Summer Residency, Saratoga Springs, NY; US and international tours, multiple venues; director Peter Martins

2010 Whitney ISP Studio Program Exhibition, Art in General, New York, NY

University of California Los Angeles

Record of Creative Work A comprehensive exam report submitted in partial satisfaction of the requirements for the degree Master of Fine Arts in the Department of Art, Interdisciplinary Studio Area by

RYAN KELLY

2013 All artwork and statements included in this document were co-authored by Brennan Gerard and Ryan Kelly.

RYAN KELLY Record of Creative Work 2013

BRENNAN GERARD Record of Creative Work 2013

RYAN KELLY