Artist Registry
The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
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STATEMENT OF WORK
October 14, 2023, 3:52pm
This a practice of making-thinking. Of asking questions, materially. To brutally summarize, this practice thinks about what’s hardwired in to the grid of the grid. About power, and patriarchy as a subset of that, but also what sustains power—ideology and state apparatus—and beneath all of it, the abstractions of advanced capitalism. And thinking about the unrepresentability of these abstractions and abstraction as a way to index abstraction. Related to this is the social production and reproduction of reality which conditions of course what it is possible to do, what it is possible even to think, how it is possible to conceive of oneself. So-called “reality” is an occlusion of the real, burying potential, hiding it away from our collective imaginary. And as the statement, "That's just the way things are," actively masks how things could be (and how things got this way), the apparent rationality of advanced industrial/post-industrial civilization masks its intense irrationality.
This question of the grid of the grid points to thinking about infrastructure (hard and soft) and technologies. Reflecting an enduring fascination with the sharp point of the sword of technological innovation, recent works point to technology’s embedded contradiction: its liberatory potential that is very nearly imperceivable in the shiny glare of its spectacularly seductive administration of every one of us. In this it is a microcosm of the apparatus that structures reality.
I’m currently thinking about other excesses that are expressed and reabsorbed through things like art and luxury. About questions of the social production of fetishized value in markets for art and fashion. Questions of desire and its manipulation in ways that are both old school and contemporary. And I’m thinking about pleasure because capitalism wants to reduce us to focusing on survival.
This practice is hyper-aware of the material conditions of the production and reproduction of art and artist. These concerns are necessarily feminist.