An exhibition of works made predominantly with text and punctuated with images, both still and moving.
Matthew Higgs Total Despair displays and negates Vladimir Nabokov’s novel Despair bringing to light a marginal personaâ€™s bitter taste of failure.
Paul Chanâ€™s Sexual Healing/Shift for Harassment font transforms all written formulation into a conflict between sensual abandon and sexual aggression.
Kota Ezawa presents The Simpson Verdict as a cult cartoon. Nate Lowmanâ€™s Painting from Observation extracts a popular verdict from a more recent murder trial.
An-My LÃªâ€˜s black-and-white photograph presents a Vietnam War as recreational pastime in contemporary North Carolina. An isolated page from THE NAM, Fiona Bannerâ€™s they’re really taking a beating is a subjective description of a cinematic re-enactment of the Vietnam War that cannot help making reference to the current war.
Matthew Buckinghamâ€™s The Six Grandfathers or Paha Saba in the year 502,002 C.E. tracks the history of the terrain of Mount Rushmore into a projected future when erosion has removed all features of the presidential faces.
In Adam McEwenâ€™s Untitled (legal notice) Louis Vuitton hair scrunches, and Hello Kitty wallets are listed on a par with the controlled substances and Cuban cigars, goods deemed illicit and dangerous seized by US customs. Another list, Dave Mullerâ€™s I read the Phone Book…, a rendering of a ripped page of Manhattan residential listings evokes black lists or lists of fallen men.
In many words and some pictures a sense of disgrace emerges countered by Anne Collierâ€™s defiant I Am Not Ashamed.