This is a juried show featuring works picked by gallerist Martin Irvine, curator Welmoed Laanstra, and art critic Kriston Capps.
Our panelists chose seven artists whose works explore the relationship between consumption, mass reproduction, marketing, and art:
Christine Bailey, who makes multiple identical drawings using heat-set photocopier toner
Krista Birnbaum, who produces prints that combine decorative natural patterns with images of litter
Cynthia Connolly, who presents a mobile image store--a Schwinn Hollywood bike with a postcard rack attached
*Kathryn Cornelius, who will perform live via webcam, acting out the instructions of gallery-goers submitted via Twitter
Carolina Mayorga, who will tour the galleries selling a fictitious new brand of lipstick designed to help people "look beautiful in all situations"--with advertising slogans culled from journalistic stories of displacement and horror
Susana Raab, whose color photographs depict an absurdly super-saturated American consumer culture
Joanie Turbek, whose live performance will involve packing up pieces of ceramic cake to be shipped to friends--in boxes not to be opened until their birthdays
*More information on Kathryn Cornelius's (Re)DO IT project:
ReDO IT is an artwork that employs Twitter, webcams, and video projections to connect the artist in her studio with a live gallery audience at the Arlington Arts Center.
From 7:00 pm to 9:00 pm, as part of the AAC's show about art, mass production, and commerce, UNLIMITED EDITION, D.C.-based performance artist Kathryn Cornelius will stay home in her studio.
Not to worry, though: She'll be transmitting a performance piece live via webcam to be projected onto the walls of the AAC. For ReDO IT, Cornelius will upend the typical model of artistic production and authority, allowing gallery-goers to direct her actions, turning her into a sort of service provider.
Anyone who chooses to do so can send instructions for Cornelius to act out--via Twitter, through e-mails prior to the night, or at a web terminal conveniently set up in the gallery.
All of the instructions will appear projected on one wall as they are updated; on the adjoining wall, viewers will see Cornelius interpret her audience's directives.
More information on how to participate can be found on a website designed by the artist specifically for the project:
Cornelius is known for pieces that create a strange, phantom territory at the edges of the art world: From offering massages at one art fair; to staging a faux red carpet event at another; to masquerading as a one-woman arts corridor cleaning company, Cornelius is often darkly funny, never boring, and typically whip-smart.
Here's more on the context for Cornelius's new piece at the AAC:
This project reconsiders Do It, an ongoing piece by Swiss-born artist Hans-Ulrich Obrist that draws on the history of conceptual art.
In the 1960s and 1970s, conceptual artists began testing strategies to destabilize markets and museums by creating works that could not be easily commodified or categorized.
One important conceptual art tactic was the creation of lists of instructions: Artists would provide a description of how to make something without actually producing the finished artwork itself. This was meant to encourage the participation of others in an ongoing, free artistic process.
In the early '90s, Hans-Ulrich Obrist conceived of a large show--titled Do It--consisting entirely of instructions, representing 30+ artists. The show can be repeated anywhere, and the public ultimately creates/completes each work, according to a predetermined set of rules.
Although Do It aims to transfer the production of artworks to the public (and not the artist), all pieces are ultimately attributed to the artist drawing up instructions. The artist is the author; the public provides simple, unredeemed labor.
With ReDo It, Kathryn Cornelius decisively turns the tables: She, the artist, will simply interpret and execute instructions provided by her public. Cornelius will be shown via live video feed, working in her studio as the art gallery audience directs her. In this way, authority has been transferred, and the artist must placate the demands of the art consumers in attendance.
In our Meyer galleries, come see our
Philadelphia artists Alexis Granwell and Josh Rodenberg install architectural interventions using ordinary materials--string, PVC pipe, wood, paper pulp--as well as drawings, both on paper and directly on the gallery walls.
Upstairs in our Wyatt gallery, come see
A SPATIAL DIFFERENCE
a group show featuring new 2-D works from three of AAC's resident artists: Jill Romanoke, Monica Stroik, and Sabyna Sterrett.
Also on view in our Jenkins gallery downstairs: it's a
featuring works produced in the AAC's own classrooms.