Nicholas Frank Corin Hewitt Jessica Jackson Hutchins Jamie Isenstein Xylor Jane On Kawara Anissa Mack Will Rogan Josh Shaddock Allyson Vieira
Small A Projects is pleased to announce the inaugural exhibition in our new space, 200597214100022008. Concerned with the ways that we track time, mark milestones and anniversaries, and monitor transitions, decomposition and obsolescence, the exhibition is also about the codes and methods that locate histories, both personal and public.
As we endeavored to move Small A Projects from Portland, Oregon (zip code 97214) to the Lower East Side (zip code 10002), we became acutely aware of the lists of numbers, dates, addresses, and financial sums that obliquely defined and memorialized our cross-country travel, shipping, space-hunting, lease negotiation and renovations. Moreover, we became sentimental about our brief but significant history since opening the gallery in an industrial building in Southeast Portland (2005) to our new location on Broome Street in Manhattan (2008).
Hence, our first New York exhibition is about tracking shifts in time and location and includes many artists that worked with us in Portland. An On Kawara triptych made the physical trip from Oregon and Xylor Jane, invited to show at the gallery in Portland in 2005, finally makes her Small A debut only a few blocks from her gallery.
Corin Hewitt’s photographs, made during a performance in 2007, mark transient and unstable moments in a continuum of cooking, sculpture, decomposition, and photographic manipulation. Jamie Isenstein’s sculpture posits an eternal flame as a palliative for a body atop a bicycle and Josh Shaddock’s calendar exploits the rhythm of the Gregorian calendar substituting a 1980 calendar for our 2008 one (it works just fine).
Xylor Jane’s Julian Days painting employs a little-used astronomical calendar that consists solely of integers. An On Kawara triptych and an Anissa Mack sculpture depict specific dates and anniversaries that may or may not seem immediately significant but point to time spent in a location (or studio) via language, font, and convention.
Jessica Hutchins’ Wave captures water in perpetual motion while plastic objects embedded in its surface locate the work in the 1990’s. A painting by Nicholas Frank references the origins of the geologic world and art-making, and Allyson Vieira’s plaster sculpture alludes to the transference of history and culture via objects and empire.
Finally, Will Rogan’s video, Collapse attempts to capture the immediate past and the immediate future right at the point where they collide. We hope that this exhibition does something similar for our own trajectory.