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The museum connects people to art and creative practice. Education guides can be accessed & downloaded from the museum website, kmacmuseum.org. Upcoming Exhibitions in 2016—2017 Sisters of the Moon, Fall 2016 William J. O’Brien, Winter 2017 Thread Lines, Spring 2017 Museum Tuesday—Saturday 10a until 6p Sunday 10a until 5p
Admission to KMAC is FREE thanks to
MATERIAL ISSUE IS GENEROUSLY SUPPORTED BY
Michael & Erin Trager-Kusman, Elizabeth Davis, Leslie & James Millar, Rick Health & Merrily Orsini, Ted & Mary Nixon, and The Andy Warhol Foundation for the Visual Arts.
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MATERIAL ISSUE Material Issue features artists who have developed a personal and highly critical dialogue with their chosen materials. The ideas and issues that are expressed in the works on view are nurtured through a diversity of material explorations related to pen and ink drawing, ceramics, woodworking, painting, photography, film, video, and found objects. Demonstrating the ways that artists think through material, the exhibition provides insight into how certain creative endeavors push traditional process beyond the limits of conventional practice and allow materials to inform and resonate personal, historical, social, and political issues. The exhibition explores the materiality of traditional materials, but film, video and performance are crucial to a more expansive narrative that gives greater agency to our material surroundings. The 13 contributing artists engage in material investigations that facilitate a better understanding of our shared environment, thinking through historical relics, new and old technologies, cultural artifacts, domestic goods, and common art supplies. Material Issue signifies an area of artistic production and innovation where traditional practices are combined with
critical examinations of material culture to illuminate important issues that reflect our current time and place. This exhibition presents contemporary artists who counter Michael Fried’s assertion, from his 1967 essay Art and Objecthood, that, “Like the shape of the object, the materials do not represent, signify, or allude to anything: they are what they are and nothing more.” Material Issue demonstrates that materials are indeed relevant to the content and meaning on an artwork and that regardless of position or process an artist, in the words of Robert Rauschenberg, will “begin with the possibilities of the material.” Artists Emma Amos, David Adamo, Lisa Alvarado, Cory Arcangel, Radcliffe Bailey, Sarah Briland, Susan Collis, Tacita Dean, Ben Durham, Adrian Esparza, Mike Goodlett, Jessica Jackson Hutchins, and Toyin Ojih Odutola. Curators Joey Yates, KMAC Associate Curator Aldy Milliken, KMAC Executive Director and Chief Curator
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DAVID ADAMO
David Adamo engages in reductive
Adamo draws on the historical
and aggressive tactics with wood
precedent of an artist like Peter
in order to tackle issues at the
Voulkos who investigated the
junction of fragility and masculinity.
properties of clay through a similar
Four is part of an ongoing series of
set of forceful gestures and actions.
physical engagements with wooden
Voulkos had likewise responded
objects that the artist has whittled
to the methods of spontaneity
down to a limp and lacerated form,
proposed by Jackson Pollack’s
then abandoned to remain in a
explorations in the fluidity of paint.
perpetual state of disarray. Adamo
These artists share a process that
often addresses the carving process
focuses on the performance and
from the perspective of a masculine
physicality of art making. Adamo
activity; using tools like an axe or
expands on the projects of his
knife and leaving piles of shavings
predecessors by both lionizing and
on the floor that signal a hostile and
parodying the expressive practice of
destructive performance. Baseball
the master artist-craftsman.
represents another form of manly behavior, which Adamo emasculates by reducing a set of bats to fragile, almost toothpick-like structures.
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Four 2008, four shorn baseball bats and their shavings Dimensions vary by installation Courtesy of Peter Freeman, New York David Adamo b. 1979 Rochester, NY Lives & works in Berlin, Germany 5
LISA ALVARADO
Alvarado’s Traditional Object
reimagining the use and beauty of
paintings make use of design
these cultural objects she celebrates
elements that are reminiscent
their potency as tools for engaging
of textile patterns from cultures
in a spiritual or extrasensory
indigenous to the Americas. With
activity, pointing to the potential
references to tribal rugs, blankets,
for more totalizing forms of cultural
sashes, and shawls, Alvarado
expression, an experience akin to
separates these artifacts from their
opera or cinema.
usual decorative and utilitarian positions by giving their motifs a new
Alvarado’s paintings help to shift
art context in the form of scroll-like
material, normally perceived
paintings. Alvarado accentuates the
as common artifacts, into
ceremonial aspects of traditional
powerful works of art that reveal
objects by using the paintings
a complicated and dynamic
as banners in her own ritualistic
representation of contemporary
performances with her experimental
cultural heritage.
music group, the Natural Information Society led by Joshua Abrams. In
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Traditional Object 19 105" x 93" Courtesy of the artist Lisa Alvarado b. 1982 San Antonio, TX Lives and works in Chicago, IL 7
EMMA AMOS
In the late 1970’s and early 80’s Emma
Out in Front utilizes Amos’ training
Amos began a series of figurative
as a weaver, adding another layer to
woven collages that employed her
her painting process and helping to
use of color as both a material for
establish the idea of connectivity
communicating beauty and radiance
using the physical properties of
and as a tool for the politicization of
thread. The connective threads in this
color. As a female multiracial artist,
work unite her own cut-up woven
working in the male dominated art
fabrics mending together multiple
world of the 1970’s, Amos developed
colors that signify the varied aspects
an intensely personal connection
of her personal and artistic identity.
to the varied meanings that color
Amos’ borders are made from printed
can bring to the artistic process. In a
African cloth (Burkina Faso, Kente,
1991 Art Papers interview with Lucy
and Kanga) or fabric that she has
Lippard Amos said, “Every time I think
woven herself. The borders function
about color it’s a political statement.
as framing devices for the personal,
It would be a luxury to be white and
feminist, and Pan-African subject
never to think about it.”
matter that inhabits her work.
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Out in Front 1982, Handwoven fabric on linen 76" x 64" Courtesy of the artist and Ryan Lee gallery, New York, NY Emma Amos b. 1938 Atlanta, GA Works in NoHo, NYC 9
CORY ARCANGEL
Cory Arcangel’s status as a central
images lose relevance over time and
figure in the contemporary art
when viewed at a later date we can
discourse has been shaped by his
hardly recollect the initial lure to
unique ability to operate within
press save. Arcangel takes his own
the glitches of an environment
file of such images and applies a Java
entirely mediated through digital
applet from the 1990’s featuring an
communications. When the
impression of gently rippling water.
“immateriality” of new media was first
Otherwise known as the “lake”
beginning to complicate our capitalist
effect, this popular Web graphic
structures for commodification,
became obsolete when new and
Arcangel began to create art that
more advanced graphics emerged.
appeared to be an index of outdated
Arcangel’s interest in defunct
media programs and devices.
technology forms the basis of his art practice with his primary material
Goop / Lakes derives from his Lakes
often being outmoded digital code
series, which began in 2013. The
from video games, computers, and
series starts with the idea of the
vintage electronic music equipment.
digital archive and the likelihood that
He positions himself “a hacker in the
many of us have amassed a personal
traditional definition of someone
collection of random downloaded
who glues together ugly code and
material consisting of found images
not a programmer.”
from the Internet. Typically these
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Goop / Lakes 2015, single-channel video, 1920 x 1080 H.264/MPEG-4 part 10 looped digital file (from lossless Quicktime Animation master), media player, 70-inch flat-screen, armature, various cables 79" x 36.5" x 11" Courtesy of Jody and PA Howard Cory Arcangel b. 1978 Buffalo, NY Lives and works in Brooklyn, NYC & Stavanger, Norway 11
RADCLIFFE BAILEY
Radcliffe Bailey is a mixed media
Arriving at Mobile Bay, Alabama
artist who employs found artifacts
in 1859, carrying a cargo of 110-160
and other culturally significant
enslaved Africans, Clotilde was in
material in order to introduce
direct violation of an 1808 law titled
narratives about our collective past.
“An Act to Prohibit the Importation
His works are often large in scale and
of Slaves into any Port or Place
consist of multiple layers of visual
Within the Jurisdiction of the United
information around the issues of
States.” Those involved in organizing
memory, family, place and the racial
and carrying out the illicit shipment
histories of the Americas.
evaded the authorities by waiting until nightfall to approach the harbor,
The last recorded slave ship to
where the captives were quickly
enter a U.S. port was a two-masted
transshipped to a steamboat and
schooner called Clotilde. The wood,
hidden for twelve days. The Clotilde
coral and black sand comprising
was set afire before sinking into the
Bailey’s Clotilde II represents the
Atlantic, while the African slaves
elements associated with a passage
were distributed among the investors
through the transatlantic slave route.
of the criminal scheme. With the US
These materials help to address the
government unable to prove its case
issue of displacement by referencing
and the Civil War erupting a year
the cultural and continental crossing
later, the ship’s captain and the other
experienced by the individuals
conspirators in the illegal operation
captured during the slave trade. The
went unpunished.
work serves as an embodiment of the final slave ship to dock in the US.
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Clotilde II 2014, black sand, wood, and coral 80 1/16" x 80 3/16" x 4" (framed) Courtesy of the artist and Jack Shainman Gallery, New York, NY Radcliffe Bailey b. 1968 Bridgeton, NJ Lives and works in Atlanta, GA 13
SARAH BRILAND
Sarah Briland’s recent series combines
working alongside Kentucky’s coal
human made with nature made
mining industry. Having grown up
materials. Problematica (Foam Rock)
in this area of the country she has
was created from a cast polyurethane
an invested interest in the manifold
foam mattress with additive surface
ecological concerns that plague the
layers of sand, glass, and resin. Her
landscapes of eastern Kentucky’s
forms have the appearance of a
mountain regions. These experiences
geological vestige from an unknown
help to inform the color, shape and
time and place, a fossil embedded
texture of the work. The chalky white
with traces of our present values
and grays resemble a rocky excavation
and concerns. Her hybridized
site and the yellow a contaminated
objects provide commentary on the
waterway.
problematic relationship between the artificial and organic in the 21st
For a recent solo show at Urban Glass
century. This adverse muddling of the
in Brooklyn, NY Briland explained
manmade and the natural are inspired
her interest in exploring the material
by recent ecological conditions like
properties of the Problematica series
the Pacific trash vortices in the North
saying, “The mutability of glass and
Pacific Ocean, which consist of large
paper, combined with the process of
concentrations of plastic particles
casting, which translates form from
trapped in the currents of oceanic
one material into another, are potent
gyres.
metaphors for transfiguration and change.”
Briland’s interests regarding the human impact on our planet’s environment partly stem from
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Problematica (Foam Rock) 2015, Polyurethane foam, aqua-resin, quartz sand, reflective glass microspheres, steel and concrete 50" x 20 1/2" x 18" Courtesy of the artist Sarah Briland b. 1980 Huntington, WV Lives and works in Richmond, VA 15
SUSAN COLLIS
Susan Collis examines and reworks
draws our attention to the ordinary
the conventional economic,
and urges us to reconsider what
decorative and stately associations
materials mean when given a new
with materials like gold, opals,
context.
diamonds and pearls in order to shift our perceptions of art and value.
Collis swaps our expectations of
With Please Stay, The oyster’s our
value, altering the way we typically
world and Save the last dance for
interact with everyday objects and
me Collis presents the ephemeral
precious materials. The unintentional
elements of a gallery in the process
appearance of her work is in
of installation. The ladder and
fact a trompe l’oeil effect that
broom are employed to depict an
is accomplished through a series
area of the exhibition that looks
of intricate processes that use
unfinished or forgotten. Upon closer
woodworking and inlay techniques.
inspection the viewer will see that
This unseen level of expert craft
the appearance of splattered paint
combined with her use of highly
on the ladder, dust in the broom, and
treasured material is central to the
the exposed nails and screws in the
prize that lies ahead for the patient
wall are actually precious stones and
observer of her work.
metals, inset with tiny gems and/or inlayed with valuable materials. Collis
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The oyster’s our world 2004, Wooden stepladder, mother of pearl, shell, coral, fresh water pearl, cultured pearls, white opal, diamond 32" x 15" x 23" Private collection, New York Susan Collis b. 1956 London, United Kingdom Lives and works in London, United Kingdom 17
TACITA DEAN
Tacita Dean’s wider art practice
sculptures, while the actual films
involves drawing, painting and
take on a painterly quality, inducing a
photography, but since the mid 1990’s
more intimate art experience.
her primary medium has been film, more specifically the labor, process
KODAK continues a theme in her
and quality of film itself. She employs
work that exposes the beauty in
film as a material to be reformed
things as they decay or disappear. In
and reworked in order to address
response to a questionnaire sent out
issues at the intersections of culture,
by the journal October in 2002 Dean
technology and obsolescence.
provides commentary on why she is perhaps drawn to expressions of ruin
KODAK documents the production
within modern culture,
of the last roll of 16mm film at the Kodak factory in Chalon-sur-
“For me, obsolescence is a state of
Saône, France. Dean’s finished
normality. Everything that excites me
work functions as a record of
no longer functions in its own time.
the exhaustion of a film medium
The one thing I have noticed is that
captured by using the very same
so often I am attracted to things
soon to be obsolete material. Her
conceived in the decade of my birth.
films are most often presented
I court anachronism - things that
in museums and galleries rather
were once futuristic but are now out
than in conventional cinemas,
of date - and I wonder if the objects
providing more precise control
and buildings I seek were ever, in
over scale, sound and light. The
fact, content in their own time, as
ability to customize allows her
if obsolescence was invited at their
film installations to function like
conception.”
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Kodak 2006, 44 minutes, 16mm color and b&w film, optical sound Courtesy of the artist and Marian Goodman Gallery, New York, London, and Paris Tacita Dean b. 1965 Canterbury, England Lives and works in Berlin, Germany 19
BEN DURHAM
Ben Durham, recognized for his
fields study the Earth’s physical
unique approach to portraiture,
properties, as well as the human
presents a new series of works that
relationship to the planet itself.
combine chain link fencing with
Durham’s previous work combining
handmade paper. The impressions
word and image in his series of
created from this ubiquitous material
well-known text portraits revealed
function as a new form of portraiture
a meticulous layering of transcripts
conceptualizing the areas within
from both personal memory and
our industrially demarcated space.
public record. With his new series
Through his process of binding
Durham incorporates the same
the paper with the steel chain link
handmade paper, but replaces text
fence Durham creates a record that
with varying outlines created from
anchors his found material to a
fragmented fences. These fences tell
specific time and place. The traces
a similar story to the people in his
that remain from the former history
portraits, as both reveal a complex
of the fence can be read in similar
record of the past that is shaped by
fashion to a rock that carries a record
geographic location and layers of
of the Earth.
wear and tear.
There are both geographic and geologic approaches at work in Durham’s process. Scientists in these
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Untitled 2015, handmade paper and steel chain-link fence 60" x 45" x 1" Courtesy of the artist Ben Durham b. 1982 Lexington, KY Lives and works in Richmond, VA 21
ADRIAN ESPARZA
Esparza unravels a traditional
along the riverfront with views of
Mexican sarape and rethreads it into
new and old bridges. A found vintage
a unique design that experiments
postcard depicting a lone figure
with perspective and geometric
taking in the majesty of Cherokee
abstraction. The assorted patterns
Park in the summer of 1910 also
and color combinations that are
inspired this site-specific installation.
found in the typical sarape arouse
The serape represents Esparza’s
unlimited painterly associations for
cultural heritage and his home in
Esparza. When draped on the wall
El Paso, Texas, which is located
next to his installation the blanket
directly on the U.S. border across
acts as a kind of unstretched canvas,
from Juárez, Mexico. The thread
opening up connections between
that Esparza uses to link the serape
the thread from a serape, the lines in
with his new wall design represents
a drawing, and the colors and shading
his new connection to Louisville.
techniques of a painting.
By resituating this common cultural object into a new art environment
The New Leaves celebrates the new
the work communicates the issue of
KMAC building as well as Esparza’s
migration and the experience of a
first impressions of Louisville during
new place.
his walks downtown, including strolls
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The New Leaves 2016, serape, thread, nails, vintage postcard 10' x 24' Adrian Esparza b. 1970 El Paso, TX Lives and works in El Paso, TX 23
MIKE GOODLETT
Mike Goodlett uses ballpoint pen,
molds of stitched spandex, are material
thread, paper, plaster, and spandex to
explorations that express an individual
create sensual biomorphic forms. His
set of complex fascinations with the
works serve as cartography for the
body. The sewn layers of his drawings
body, mapping and charting how line,
serve as covering for mysterious
texture and shape can communicate
appendages and the sculptures render
our deepest corporeal desires. The
these strange extremities in three
Dandy Fountain is a surreal undulating
dimensions. These two bodies of
form that evokes the work of Jean
work represent an aesthetic landscape
Arp or recent Ken Price. With a
populated by a range of sensual forms,
distinct surface quality and a pale
which are further eroticized through
color palette of flesh tones he molds
Goodlett’s material preferences. His
an array of chimeric sculptures that
artistic process can be taken as an
ripple and germinate with an inbuilt
engagement in a personal fantasy related
force of their own.
to the body that borders on fetish.
Goodlett’s layered drawings of pen and thread, along with his sculptures of hydrostone plaster made from
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The Dandy Fountain 2016, hydro stone plaster cast 32" x 16" x 10" Courtesy of the artist Mike Goodlett b. 1958 Lexington, KY Lives and works in Wilmore, KY 25
JESSICA JACKSON HUTCHINS
The raw and disheveled collages,
Hutchins undermines the elegance
assemblages, large-scale ceramics
and delicacy of conventional
and sculptural objects from
ceramics, revealing an untidy quality
Jessica Jackson Hutchins are
within her work that signifies
intended to reflect the disorder
an embrace of the rough edges
and imperfections of daily life.
and chaos of life. The reality of
Her abstract ceramic forms act
maintaining a house, with a husband,
as stand-ins for the human body,
kids and pets informs her physical
while the weathered couches, worn
approach to making art, allowing the
chairs and tables that accompany
uncontrollable and unpredictable
her installations serve to connect
to influence the work. Despite the
her work with ideas related to the
use of furniture to communicate
home and familial space. Wishlist
the ideas of house and home,
is a sizable sculpture that conjures
Hutchins sidesteps the usual
an imposing individual or an entire
domestic associations of traditional
family. The mixture of her ceramic
ceramics and instead accentuates the
glazes and papier-mâchÊ alludes to
inevitable decay that comes with a
the color, texture and physicality of
more lived experience.
skin, drooping and fading with age and exhaustion. The found objects that appear in her work - coffee cups, furniture, clothing - allude to her own life or directly come from her own home.
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Wishlist 2015, Sofa covered in plastic, upholstery, plaster, wood, paper mâchÊ, ceramic Sofa element: 28" x 92" x 36" Wall element: 61" x 85" x 9" Courtesy of the artist and Maritime Boesky Gallery, New York Jessica Jackson Hutchins b. 1971 Chicago, IL Lives and works in Portland, OR 27
TOYIN OJIH ODUTOLA
The Material Issue exhibition
with Blackness as a construct, which
features several of Odutola’s
as she says “is a negation, it instantly
drawings, including 8 of 32 portraits
obfuscates and devalues who and
based on found images of well-
whatever is washed over by it. It
known artists, actors, politicians, and
denies complexity and in turn denies
other pop culture icons. Known as
explanation. In essence, it flattens.”
the Treatment series, these drawings focus on the sociopolitical issues
The Treatment series was created
of skin color, which is central to her
in response to this construct, a
distinctive process of mark making
way to “treat” it differently when
and use of materials like ink, chalk,
attached to the idea of Whiteness.
graphite and charcoal.
Her subjects for this project are represented with detailed marks for
The impetus to create the
the face and unfinished outlines for
Treatment series was Odutola’s
the clothing and hair. The uniformity
experience as she transitioned from
of the portrayals obscures their
her home in Nigeria to her life in the
familiarity with the general public
United States, an experience that
despite their celebrity status.
has informed a set of views about
Odutola further obfuscates their
being Black in America. Fundamental
identity by leaving them unnamed,
to Odutola’s art practice is a
relying on a reference number for the
critique of the use of colors to
title they are referred to only in the
indicate race. Her process provides
order they have been treated.
techniques to work through issues
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The Treatment 14 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) Courtesy of the artist and Jack Shainman Gallery, New York, NY Toyin Ojih Odutola b. 1985Â Ile-Ife, Nigeria Lives and works in New York, NY 29
EXHIBITION CHECKLIST DAVID ADAMO Four 2008, Four shorn baseball bats and their shavings Dimensions vary by installation EMMA AMOS Out in Front 1982, Handwoven fabric on linen 76" x 64" LISA ALVARADO Traditional Object 19 105" x 93" CORY ARCANGEL Goop/Lakes 2015, single-channel video, 1920 x 1080 H.264/MPEG-4 part 10 looped digital file (from lossless Quicktime Animation master), media player, 70-inch flat-screen, armature, various cables 79" x 36.5" x 11" Live, Love, Dream 2014, foam pool noodle, tailored Aeropostale sweat pant leg, Electrolux vacuum cleaner.
RADCLIFFE BAILEY Clotilde II 2014, Black sand, wood, coral 80 1/16" x 80 3/16" x 4" (framed) Western 2015, String, glitter, wood, and acrylic on paper 52" x 75 3/8"
SARAH BRILAND Foam Rock 2016, Polyurethane foam, aqua-resin, quartz sand, reflective glass microspheres, steel, concrete Problematica (Bubble Wrap Fossil) 2015/2016, Pâte de verre Dimensions available
Problematica (Foam Rock) 2015, Polyurethane foam, aqua-resin, quartz sand, reflective glass microspheres, steel and concrete 50" x 20 1/2" x 18"
SUSAN COLLIS Please Stay 2016, Silver, white gold, platinum, black diamonds, smokey topaz, amethyst, emerald, brown goldstone, flower garden agate, red carnelian 130mm x 1m Save the last dance for me 2006, Wooden broom, diamond, fresh water pearl, cultured pearl, mother of pearl, white opal, turquoise, howlite 127 x 37 x 11 cm The oyster’s our world 2004, Wooden stepladder, mother of pearl, shell, coral, fresh water pearl, cultured pearls, white opal, diamond 32" x 15" x 23"
TACITA DEAN Kodak 2006, 44 minutes, 16mm color and b&w film, optical sound BEN DURHAM Untitled 2015, Handmade paper, steel chain-link fence 60" x 44" x 1" Untitled 2015, Dyed handmade paper, steel chain-link fence 38" x 29" x 1" Untitled 2015, Handmade paper, steel chain-link fence 60" x 44" x 1" Untitled 2016, Handmade paper, steel chain-link fence 60" x 44" x 1"
ADRIAN ESPARZA The New Leaves 2016, Serape, thread, nails, vintage postcard 10' x 24'
TOYIN OJIH ODUTOLA Are you sure that it’s him? (Yes, I am certain.) 2011, Pen and ink on paper 21 7/8" x 42 1/4" x 1 1/2" (framed)
MIKE GOODLETT Dress Socks 2013, Ballpoint pen, thread on paper 16" x 14"
Farther Still 2016, Charcoal on board 40" x 30" (board) 45 1/2" x 37 9/16" x 2 1/8"
Love Seat 2013, Ballpoint pen, thread on paper 16" x 14" Ruff, Cuff, Muff 2016, Hydro stone plaster cast 23" x 18" x 10" The Dandy Fountain 2016, Hydro stone plaster cast 32" x 16" x 10" The Marriage of Arnolfini 2013, Ballpoint pen, thread on paper 16" x 14" Untitled 2015, hydro stone plaster cast 38" x 14" x 6"
JESSICA JACKSON HUTCHINS Acid Blotter 2015, Chair, paper mâché, cups, enamel, paint, glazed ceramic 35" x 25" x 31" Untitled 2015, Paint, paper mâché, paper cups on shelf liner & linen 60” x 45” x 3” Wishlist 2015, Sofa covered in plastic upholstery, plaster, wood, paper mâché, & ceramic Sofa element: 28" x 92" x 36" Wall element: 61" x 85" x 9"
Let It Express Itself 2015, White charcoal pencil on black board 22 5/8" 17 13/16" x 1 1/2" (framed) Melting Into Texture or The Future Grown Impatient 2015, Charcoal on board 45 1/2" x 37 1/2" x 2 1/8" (framed) The Treatment 1 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) The Treatment 14 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) The Treatment 21 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) The Treatment 22 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) The Treatment 24 2015, Pen ink, gel ink, and pencil on paper 12” x 9” (paper) The Treatment 26 2015, Pen ink, gel ink, and pencil on paper 12” x 9” (paper) The Treatment 28 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) The Treatment 29 2015, Pen ink, gel ink, and pencil on paper 12" x 9" (paper) To remember and to forget 2014, Graphite on paper 21 5/8" x 42 5/8" x 1 1/2" (framed) 30
Staff
Board of Directors
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