The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
Like Matisse, I want my work to be a “good armchair”, but not just for the comfort of a “businessman” or “mental worker”-- for everyone. The medium of the file makes this possible. It allows the image to be everywhere or anywhere via print or the screen. Ideally this extends beyond the art gallery onto bus stops and billboards, the terrain of advertising and signage. The cut of Matisse’s scissors becomes a cut in social space. A cut interrupting the ordinary functioning of life as represented by advertising, the colonization of public space and the demographic cordoning off of our identities and desires. A cut can draw boundaries or slice into them.
Of course, abstraction already has a known place in advertising, in both the empty backgrounds where its idealized figures aimlessly float and in the logo which functions as the plug for this aimlessness. But true abstraction is something other than a background or a logo. It doesn’t stand for anything, and if it does it disappears. At its heart, abstraction has always been a question, a proposition about picture making, and protest against the world as it presents itself. To the degree that abstract painting has become an image of itself or of capital circulation and manifestation of excessive value, I place against it the valuelessness of graphic design and the absolute copy. And against the messaging of “communications” and graphic design, I place the radical emptying impulse of abstraction.