STUFF : The Culture of Obsolescence Samuel J. Zacks Gallery APRIL 7-‐18, 2014 Stong College, York University Toronto, Ontario M3J 1P3
The culture of obsolescence embeds us in a field of expiring objects. Things that we take as direct markers of identity will eventually break, become passé, or have to be upgraded and we, immersed in the staccato of our material culture, have somehow come to accept a fragmented sense of self. This exhibit, through the work of 14 artists, explores ways in which we assimilate the culture of obsolescence. Selected entries are grouped to represent the negotiations and contradictions we process subconsciously in an age driven by choice, innovation, lifestyle and progress.
Clockwise From The Intro Panel Expiry & Reinvention Monika Bodirsky’s work is created from objects found in flea markets. She learns the history of each item before setting it within a diorama of other orphaned objects. Vanessa Arnold’s series of shivs is a dark reinterpretation of an everyday object that has lived past its intended use. Desire & Demise Tara Dorey’s painting of a kitschy television set crosses the imagery of the sacred with advertising. Lucas Johnson’s series documents the recent closure of the Sears store at the Eaton Centre. The store’s contents are rendered useless against the backdrop of the glamorous images that once drove customers to shop there. Waste & Progression Holly McClellan’s Garbage Dress is a site-‐specific project that critiques “fast fashion”. Members of the community at each location donated used clothing, from which she has constructed each of her unique dresses. Lauren Mulhorney’s Ethylene series touches on how abundance translates to desensitization. As we view a petrified specimen on a pedestal, she forces us to confront our own unease about the plastic bags that clutter our drawers. Luxury & Necessity Robin Tieu’s “Good Intentions” illustrates our failed attempts to fix problems, which usually make the problems worse. Ken Vickerson’s essay contemplates what makes an object worthy of repair, particularly perceptions in North America versus developing nations
Death & Resurrection Andrew Owen’s modern solargram is a revival of the long-‐ forgotten cyanotype photographic process. Anna Atkins developed it in 1842; her work was largely ignored and has recently become a highly prized art commodity. Jorge Ayala points to the incompatibility between current and outdated interfaces, and the inevitability of decay in the act of preservation. Elimination & Minimalism J.P. King provides an antidote to our material addiction through his book Materialists Anonymous, in which he adapts affirmations from AA, replacing the word alcohol with possessions. The flowchart gives step-‐by-‐ step instructions for anyone looking to de-‐clutter systematically. Development & Loss Georgina Walker explores the materiality of architecture and industry. She calls attention to the byproducts of construction and disrupted spaces within the city. Patrick Cummins has been photographing gradual changes in the urban fabric of Toronto since 1978. The series shows 100 Adelaide St E and 580-‐586 Richmond St W, giving us a glimpse of obsolescence in the built environment.
Obsolescence & Mortality Jenifer Sutherland’s twitter essay relays, in 66 tweets, the anxiety created by obsolescence. The essay explores the anxious transference of our mortality onto objects.