Picaflor, a gallery and event space based in the Arizona Lofts, will exhibit a group show of work from an interesting mix of emerging and established artists on Saturday. Boom!, curated by artist and SCAD faculty member Casey Lynch, is a "collection of art by young artists whose work represents what it means to live in a culture created and dominated by multiple “bubble and bust” cycles. The majority of the work in this show has been made since the latest bust, that of the Real Estate Boom, by artists who are members of the generations which came after the Baby Boomers."
The show includes work by Atlanta-based artists Joseph Karg, Lance Turner, The Art Officials, Nimer Aleck, and Maria Raquel Cochez, alongside Jeanie Jo of Los Angeles, Damien Hirst of the UK, and Quint Stevenson and Cooper Holoweski of Brooklyn. Lynch confirmed by email today that, yes, work by "the Damien Hirst" is part of the show (two pieces from a local private collection) but stressed that he didn't want "the modest work representing him in the show to overshadow the other extremely talented participants."
Lynch has an enlightening interview at Picaflor, in which he elaborates on what he sees as the relationship between economic bubbles and contemporary art and why this work relates to that theme. Preview a few images of the work and details about the opening after the jump.
Jeanne Jo, My First Punch to the Face included above.
Jeanne Jo is a new media artist who works with high and low
technologies to investigate the stereotypically gendered. My First Punch
to the Face is performance documentation of the artist being punched in
the face by another woman's fist. Inspired by a desire to experience the
changes that happen when one absorbs a heavy physical or emotional
blow, Jo reveals our society's seeming lack of “real” experiences and
absence of genuine affect. As a form of post-gender criticism, the artist
uses lo-fi video to question our relationship to “extreme” or “shocking”
footage that is the bread-and-butter of media websites like Youtube;
exploring if and how the unprecedented influx of dramatic imagery on the
web affects our experience of/with the gaze.
Cooper Holoweski is a native of Michigan. His work, Death Seed
Machine is a drawing whose image is appropriated from the final scene
of Christine, by Stephen King (which Holoweski reads as a "Marxist
fable".) Obviously a reference to the death of industry (esp. in the U.S.),
the crushed automobile also alludes to the mangling of the American
dream, itself a type of seed. “Seed” in the title also suggests birth,
specifically rebirth, as mirrored by the cycle that the picture's object has
undergone; from real car, to crushed real car, to film image, to digital
image, to printed image, to drawn image… A cycle that situates the
viewer as no longer looking at the past life of industry, but instead toward
the possible incarnations of capital and production in the future.
Milton Stevenson V’s Game Over (300) is a reflection of what labor has
become in our culture; the alienating act of completing meaningless
tasks for diminishing rewards. The series of 300 screen shots shows the
classic Nintendo video game, Super Mario Brothers, being completed at
each possible interval on the game's timer, from 300 to 1, in seconds.
In Society of the Spectacle, Guy Debord posits that leisure has become
the goal of the late capitalist society, and Stevenson's work shows us
how the American (U.S.) model of combining leisure and labor produces
nothing more than entertainment — a commodity that neither nourishes
nor protects, but instead feeds only our fetish driven desires.
Boom!, a group show curated by Casey Lynch, opens on Sat., March 12 at 7 pm. More details at Picaflor.
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