Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Installation view of Made in Space, curated by Peter Harkawik and Laura Owens, Venus Over Manhattan, New York, 2013
Made in Space
curated by Peter Harkawik and Laura Owens
presented by Gavin Brown’s Enterprise and Venus Over Manhattan
July 11 - August 10, 2013
Opening: Thursday, July 11th, 6:00 - 8:00 pm
Venus Over Manhattan
980 Madison Avenue
New York, NY 10075
(New York, NY) – Venus Over Manhattan and Gavin Brown’s Enterprise, are pleased to present Made in Space, an exhibition curated by Peter Harkawik and Laura Owens.
Made in Space
1. Someone drank tea. Someone else felt that a specific kind of taco eaten at a particulargeographic location was like a drug. The spices generated a certain kind of energy, or, perhaps, muscle memory. It was 2012.
2. In 2002, “thoughts mixed and burned with gasoline” turned to Orange County, a web without a spider, The Citadel, Eden-Olympia. The commingling of purposefulness and aimlessness was understood to be the effect of Junkspace.
3. In 1981, Peter Schjeldahl took a trip to Los Angeles and wrote a short essay damning our city to a future of cultural irrelevance, lest it somehow invert each and every one of its unique features. He wrote, “The wishfulness of LA’s citizens is simply explained as the effect of a life that enforces independence to the point of autism. Try to lean on anything or anyone and you’ll fall down[…] Los Angeles is a city without public spaces. There are only private spaces–fenced haciendas of self-maintenance and self-invention–surrounded with the soft, dreamy, zinging-withlight nowhere in particular.” Much as Michael Fried’s write-off of minimalism as theater, Schjeldahl missed the point.
4. Participants in the 2010 TV series “Wipe Out” drove to Magic Mountain for jouissance: that is, being battered around by brightly colored, slowly rotating foam shapes.
5. In 1986, a pedestrian observed a pair of giant steel springs rolling down the sidewalk near the corner of Wilshire and La Brea. Elsewhere, aphasiacs watched Ronald Reagan on television and were not fooled by his affect. Because they lacked the ability to understand the intended significance of various facial expressions and/or gestures, their experience of his speech was divorced from his image, rendering it as inert and senseless as the printed word.
6. A shopper walks the isles of Home Depot in a stupor, hopelessly trying to assemble a mental list of life goals by way of immediate hardware purchases. Thoughts turn to the specific alienated labor that produced this situation. Is a kindred soul, another loser, in a cubicle somewhere, proliferating this amalgamation of thoughtless spatial constructs, endcap displays stacked to the sky? Is that person horny? Do they have a gaping flesh wound? A fixed quantity of gasoline was converted to smog today. It is 1999.
7. The Mall of America is constructed in 1992. The FDA urges surgeons to abandon silicone in breast implants and the first McDonald’s franchise is opened in China. In the words of French anthropologist Marc Augé, “Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations is ceaselessly rewritten.”
8. Food is a variety of colors. We all eat food. Certain foods appear one color or another on account of food dye. Regardless of whether or not their color is a lie or we willingly suspend disbelief (as in the instance of a Starburst — is it the flavor “Lemon” or the flavor “Yellow”?), we all eat, and we all shit. In painting, mixing color is a complicated process involving the opacity of various pigments and substrates. Mixing too many colors results in a sludge that is invariably described as “muddy.” This is much like our digestive system. Foods we eat are broken down by procedures which work in concert; the enzymes in our mouth, the acids of our stomach. The color in foods is combined slowly in our body, until we shit, and see the result of our gastric color mixing: brown. In 2009, The Wrigley Company discontinued their unpopular “Baja California” Starburst flavor.
9. A person discovered a pile of feces directly in the middle of a pair of women’s size 10 red pumps. The distance between the shoes and the feces, which looked very much like a chocolatedipped frozen yogurt dessert, or a dog chew, indicated that the person could have been squatting and defecating. This tableau vivant was found in a parking lot behind a chinese restaurant in Beverly Hills in 2008. Every transaction leaves a remainder.
10. In 2001, an auto dealership on the 134 Freeway decided to expand its advertising by taking over an adjacent parking garage. Mannequins, waving and smiling, some posed with balloons, were installed on its upper levels. This visuality of the frontal, of the fleeting glance, produced a sensation not unlike V-effekt in passing drivers. Like a Brechtian stage play, their collective event was stripped of its self-evident nature. That same year, Elizabeth Grosz wrote, “Space, […] outside the ruses of imagination, is not static, fixed, infinitely expandable, infinitely divisible, concrete, extended, continuous, and homogenous, though perhaps we must think in these terms to continue our everyday lives (and the architect is perhaps more invested in this understanding of space than anyone else). Space, like time, is emergence and eruption, oriented not to the ordered, the controlled, the static, but to the event, to movement or action.”
11. In 1993, someone sat in a recliner in Long Beach with a VHS deck balanced on each knee. One screen played Hitchcock’s “Rope” while the other played Altman’s “Short Cuts.” Nearby, under a bridge, someone was feeling like his only companion was the city he lived in, the City of Angels. Around the same time, a wallet was left in El Segundo.
12. Two friends, both architects, drove to Brentwood in 1994. They got out of their car and ran alongside OJ Simpson’s Bronco, hoping to catch a glimpse of reality in progress and joining thousands of people on the streets and overpasses in communal euphoria.
13. Two curators drove by a flip flop in the road. This was mutually lauded for its demonstrative effect. It was 2013.
For further information about the exhibition and availability, please contact the gallery at info@venusovermanhattan.com
For all press inquiries related to the exhibition, please email press@venusovermanhattan.com
Lucas Blalock
Sweater, 2012
chromogenic print
25 1/2 x 20 1/2 in
64.8 x 52.1 cm
3dition 3 of 3 + 2 APs
Lucas Blalock
Plants, 2013
chromogenic print
60 x 48 in
152.4 x 121.9 cm
edition 1 of 3 + 2 APs
Derek Boshier
The Los Angeles Art Collectors - Mr + Mrs Rodin-Riddler, 2000
acrylic on canvas
72x 60 in
182.9 x 152.4 cm
Derek Boshier
Made in Space, 2003
acrylic on canvas
84 x 137 in
213.4 x 348 cm
Jedediah Caesar
Gleaner Stones, 2008-2011
96 bricks, collected materials, urethane and pigment
each: 8 x 3 x 4 in
each: 20.3 x 7.6 x 10.2 cm
Jedediah Caesar
The Ruinsed, 2008
resin and mixed media, in 13 parts
overall: 136 x 81 in (345.4 x 205.7 cm)
each: 20 1/4 x 34 in (51.4 x 86.4 cm)
Joshua Callaghan
Paperclip Figure #4, 2011
nickel plated steel
62 x 13 x 10 in
157.5 x 33 x 25.4 cm
Joshua Callaghan
Chicago Snow #1, 2012
eps foam, urethane resin, marble chips, pigmented sand, glass
24 x 50 x 20 in
(61 x 127 x 50.8 cm
Joshua Callaghan
Chicago Snow #2, 2012
eps foam, urethane resin, marble chips, pigmented sand, glass
24 x 20 x 20 in
(61 x 50.8 x 50.8 cm
Joshua Callaghan
Chicago Snow #3, 2012
eps foam, urethane resin, marble chips, pigmented sand, glass
24 x 20 x 20 in
61 x 50.8 x 50.8 cm
Joshua Callaghan
Focus, 2013
charcoal on canvas
240 x 168 in
609.6 x 426.7 cm
Vanessa Conte
Hot Bike (Freeway 2), 2013
acrylic on canvas
62 x 52 in
157.5 x 132.1 cm
Vanessa Conte
Hot Bike (Freeway 3), 2013
acrylic on canvas
62 x 52 in
157.5 x 132.1 cm
Michael Decker
Joe Cool, 2013
found t-shirts, polyester thread, carpet nails, painted wood, hardware
89 x 89 in
226.1 x 226.1 cm
Michael Decker
Index of Questions, 2013
found t-shirts, polyester thread, staples, painted wood, hardware
96 x 72 x 1 in
243.8 x 182.9 x 2.5 cm
Gabrielle Ferrer
Cones, 2013
inkjet prints mounted on wood in 14 parts
each: 8 x 8 in
each: 20.3 x 20.3 cm
edition of 3
Gabrielle Ferrer
The Navajo Blanket, 2011
watercolor on pages cut from The Navajo Blanket, LACMA Catalog, 1972
each: 12 x 8 1/2 in
each: 30.5 x 21.6 cm
Laeh Glenn
() (), 2013
oil on panel, wood
16 3/4 x 12 1/2 in
42.5 x 31.8 cm
Laeh Glenn
Daises, 2013
oil on panel, wood
16 3/4 x 12 1/2 in
42.5 x 31.8 cm
Laeh Glenn
Fruit Relief (Black), 2013
oil on panel, wood
17 x 12 1/2 in
43.2 x 31.8 cm
Laeh Glenn
Ghost, 2013
oil on panel, wood
16 2/3 x 12 1/2 in
42.3 x 31.8 cm
Laeh Glenn
Blue Fruit, 2013
oil on panel, wood
16 3/4 x 12 1/2 in
42.5 x 31.8 cm
Laeh Glenn
Introduction, 2013
oil on panel, wood
16 3/4 x 12 1/2 in
42.5 x 31.8 cm
Hannah Greely
Smile, 2013
papier-mâché, chicken wire, gypsum cement, tempera, and polycril
28 x 45 x 22 in
71.1 x 114.3 x 55.9 cm
Hannah Greely
Jacob Wrestling The Angel, 2013
cardboard, canvas, glue, gypsum cement, tempera, and polycril
50 x 36 x 16 in
127 x 91.4 x 40.6 cm
Hannah Greely
Conforms, 2013
wood, glue, yard 14 parts:
each: 6 x 7 in
each: 15.2 x 17.8 cm
Marcia Hafif
August 2, 2012, 2012
ink on paper
21 x 26 1/2 in
53.3 x 67.3 cm
Marcia Hafif
August 7, 2012, 2012
inkn on paper
21 x 26 1/2 in
53.3 x 67.3 cm
Marcia Hafif
Shade Paintings Group 1, LB, 2013
oil on canvas, in 6 parts
each: 18 x 18 in
each:45.7 x 45.7 cm
Peter Harkawik
Registration III, 2013
vinyl decals on clear polished vinyl, chrome plated steel
66 x 66 x 10 in
167.6 x 167.6 x 25.4 cm
edition 1 of 2
Peter Harkawik
Untitled (colorblindness painting w/ dazzle camouflage toiletpaper #1), 2013
acrylic silkscreened on linen, chrome plated steel, silicone rubber on silicone rubber sheet
overall: 40 x 60 x 4 inches (101.6 x 152.4 x 10.2 cm)
tondo: 40 x 40 in (101.6 x 101.6 cm)
protruding element: 5 1/2 x 26 x 4 inches (14 x 66 x 10.2 cm)
Cannon Hudson
Phantom Limb, 2009
polychrome steel
48 x 31 x 14 in
121.9 x 78.7 x 35.6 cm
Cannon Hudson
Isosceles, 2013
acrylic and enamel on canvas
58 x 58 in
147.3 x 147.3 cm
Cannin Hudson
D.R., 2013
oil and enamel on canvas
52 x 42 in
132.1 x 106.7 cm
Jim Isermann
Untitled (2987), 1987
enamel paint on wood
48 x 48 in
121.9 x 121.9 cm
Jim Isermann
Untitled (0112), 2012
cotton duck canvas, thread
70 1/2 x 72 in
179.1 x 182.9 cm
Jim Isermann
Untitled (0113), 2013
die-cut vinyl decals
dimensions variable overall
each: 19 1/2 x 22 1/2 in
each: 49.5 x 57.2 cm
Patrick Jackson
Box, 2013
ceramic
Patrick Jackson
Lazy Sunbather, 2013
ceramic
10 x 3 x 2 in
25.4 x 7.6 x 5.1 cm
Patrick Jackson
Maze, 2013
ceramic
David Korty
Film Strip (Blue Shelf 4), 2013
ink, gouache, paper and canvas
72 x 54 in
182.9 x 137.2 cm
David Korty
Ringed Vases, 2013
ceramic
various dimensions
Liz Larner
6, 2010
polyurethane on stainless steel
69 x 92 x 49 in
175.3 x 233.7 x 124.5 cm
Liz Larner
Volitant Solids, 2010
ceramic and oil paint
30 x 24 1/4 x 4 in
76.2 x 61.6 x 10.2 cm
William Leavitt
Lava, 2013
flashe on canvas
36 x 65 in
91.4 x 165.1 cm
Tala Madani
Flashlight with Rear Projection, 2013
oil on canvas
16 x 18 in
40.6 x 45.7 cm
Tala Madani
Stone of Madness, 2013
oil on canvas
18 x 15 in
45.7 x 38.1 cm
Joshua Mannis
Another Trap?, 2013
ink on paper
19 3/4 x 17 3/4 in
50.2 x 45.1 cm
Joshua Mannis
At War with the Army, 2013
ink on paper
21 1/2 x 18 in
54.6 x 45.7 cm
Joshua Mannis
Batman, 2013
acrylic on aluminum and plastic on cotton
80 1/2 x 60 in
204.5 x 152.4 cm
Joshua Mannis
Don't Turn Your Back, 2013
ink on paper
19 3/4 x 17 3/4 in
50.2 x 45.1 cm
Joshua Mannis
International Style, 2013
ink on paper
19 3/4 x 17 3/4 in
50.2 x 45.1 cm
Joshua Mannis
So Much for Working Change from Within the System, 2013
ink on paper
21 1/2 x 18 in
54.6 x 45.7 cm
Max Maslansky
Dancers, 2012
acrylic on bed sheet
52 x 40 in
132.1 x 101.6 cm
Max Maslansky
Legs, 2013
acrylic on bed sheet
75 x 38 in
190.5 x 96.5 cm
Jesse Mockrin
Midnight Circus, 2013
oil on linen
34 x 23 inches
86.4 x 58.4 cm
Jesse Mockrin
Mirror Mirror, 2013
oil on canvas
34 x 23 in
86.4 x 58.4 cm
Rebecca Morris
Untitled (#04-10), 2010
oil on canvas
76 x 76 in
193 x 193 cm
Rebecca Morris
Untitled (#02-13), 2013
oil on canvas
106 x 80 1/2 in
269.2 x 204.5 cm
Davida Nemeroff
box stall, 2013
digital inkjet print
40 x 30 in
101.6 x 76.2 cm
Davida Nemeroff
Junior, 2012
inkjet print mounted on sintra
36 x 48 in
91.4 x 121.9 cm
edition 2 of 3 + 1 AP
Eric Orr
Ngorongoro, 1990
oil on canvas with lead frame
36 x 29 in
91.4 x 73.7 cm
Eric Orr
Radio Play, 1990
meteorite dust, bone, radio parts, artist's blood, gold leaf and lead
15 1/2 x 13 1/2 in
39.4 x 34.3 cm
Eric Orr
Taveuni, 1990
oil on canvas in lead fram
36 x 29 in
91.4 x 73.7 cm
Jorge Pardo
Untitled, 2013
acrylic, brass, aluminum, rubber and light fixture
28 1/4 x 21 1/4 in
71.8 x 54 cm
Jorge Pardo
Untitled, 2007
silkscreen on unprimed linen, inkjet on canvas and polyester shantung
106 1/4 x 82 1/2 x 2 in
269.9 x 209.6 x 5.1 cm
Marina Pinsky
Role Model I, 2013
inkjet print on aluminum and polyisocyanurate foam
96 x 29 x 10 in
243.8 x 73.7 x 25.4 cm
Marina Pinsky
Role Model too, 2013
inkjet print on aluminum, fiberboard, and polyisocyanurate foam
48 x 60 x 24 in
121.9 x 152.4 x 61 cm
Allen Ruppersberg
Honey, I rearranged the collection trying to make a purse out of a sow's ear, 2011
silkscreen, ink and graphite on paper
22 x 25 in
55.9 x 63.5 cm
Asha Schechter
Picture 050 (Artistic Sculpture of Thought, Trveit_03, Character Cartoon Football, Alphabet Pattern), 2013
chromogenic print
30 x 40 in
76.2 x 101.6 cm
Asha Schechter
Picture 058 (Waste Paper Basket, RealD 3D Glasses, Hummingbird Pose1, Peter Jensen Silk Blouse from Jutte, A/W 2009), 2013
chromogenic print
30 x 40 in
76.2 x 101.6 cm
Asha Schechter
Picture 059 (Picture 050 Pt. 2, Artistic Sculpture of Thought, Trivet_03, Character Cartoon Football, Alphabet Pattern on Silk), 2013
chromogenic print
30 x 40 in
76.2 x 101.6 cm
Asha Schechter
Picture 066b (Rubiks Cube, Clear Book, Clubmasters, Rubiks Cube, Vintage Pictures Retro Photos Cotton Fabric, Thumb Tack), 2013
chromogenic print
30 x 40 in
76.2 x 101.6 cm
John Seal
Caught in a Glance, 2013
oil on canvas
50 x 60 in
127 x 152.4 cm
John Seal
The Darkness of Day, 2013
oil on canvas, oak
87 x 53 x 16 in
221 x 134.6 x 40.6 cm
John Seal
Untitled, 2013
oil on canvas
53 x 50 in
134.6 x 127 cm
John Seal
Twice My Love Hath Been Before Me, 2013
oil on canvas, oil on paper clay and copper
canvas: 36 x 32 in (91.4 x 81.3 cm)
vase/flower: 15 x 5 x 5 in (38.1 x 12.7 x 12.7 cm)
Peter Shire
Rod and Transit, 1984
steel and polyurethane enamel
31 x 60 x 60 in
78.7 x 152.4 x 152.4 cm
Peter Shire
Bianchi, 2012
steel and polyurethane enamel
76 x 46 in
193 x 116.8 cm
Mungo Thomson
June 25, 2001 (How the Universe Will End) and March 6, 1995 (When Did the Universe Begin?), 2012
enamel on low-iron mirror, poplar and anodized aluminum, 2 parts
each: 74 x 56 in
each: 188 x 142.2 cm
Mungo Thomson
December 28, 1992 (What Does Science Tell Us About God?), 2013
enamel on low-iron mirror, poplar and anodized aluminum
74 x 56 in
188 x 142.2 cm
Aaron Wrinkle
Narrative Painting 1, Androgynous Figure w/ Guitar, Strumming Device and Cigarette, 2013
latex and Ameriana craft acrylic on canvas
60 x 48 x 2 1/2 in
152.4 x 121.9 x 6.4 cm
If much of the work in this sprawling, energetic two-gallery group show looks fresh and unfamiliar — and as if it might not come from New York — there’s a reason. Everything on view was made in and around Los Angeles, fairly recently and often by artists who are either young, unknown in these parts or both.
At a time when just about any exhibition or art fair, anywhere in the world, is just a click away, it’s easy to forget that art-making is still an intensely local affair, that individual scenes and real-world interactions between artists still matter, perhaps now more than ever.
It’s a busy night at Gavin Brown’s Enterprise, with shows featuring the Afrika Bambaataa Master of Records vinyl archive and monochromes by the mysterious Henry Codax opening alongside “Made In Space,” a group show curated by Peter Harkawik and Laura Owens that’s also going to be at Venus Over Manhattan.
