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The Object Direct


Heskin Contemporary
443 West 37th, Ground Floor, 212.967.4972
Hell's Kitchen
November 20, 2008 - January 3, 2009
Reception: Thursday, November 20, 6 - 9 PM
Web Site

Curated by Matthew Fisher

The Object Direct will be on view at Heskin Contemporary from November 20th through January 3rd, 2009. A reception for the artists will be held on Thursday, November 20th from 6-9 pm.

Pat Brennan, Stacy Fisher, J.J. Garfinkel, Dan Gluibizzi, Mike Hein, Jim Lee, Dustin London, Saira McLaren, John O’Connor, Meridith Pingree, Rudy Shepherd, Mark Stockton, Cindy Stockton-Moore, Charlotta Westergren, Mitchell Wright.

For the artists in this show, it’s both who shot J.R. and who shot Mister Burns. Equal parts the Pepsi Generation and New Coke, Jimmy Carter and Ronald Regan, the Challenger explosion, the first Gulf War and President Bush. Art today cannot be reduced to an “ism” or single movement. Books entitled Painting People and group surveys such as USA Today remind us that art has gotten so large that what binds it together are simple comparisons and geographic groupings. These artists are apart of a single generation whose works features a strong presence of the hand.

These fifteen artists know the 1970s. They know the 1980s. These years formed their foundation for understanding both the real world and the art world. They are also not afraid to allow for the inaccuracies of their hand be apparent. For them, the concept of object exists in the artworks finial state, not in the process in which it was made. These younger artists differ from the idea of object-ness that was apart of the definition of 1970’s LA Finish Fetish. Then, artists like John McCracken, Ken Price and Ed Ruscha allowed for ‘object’ to manifest its self in the form of perfect fabrication and machine surfaces. This removal overshadowed their presence in the creation of their art works. The artists in New York, New Work, permit the trace of their hand to be apart of the finial piece. Reminding the viewer of the process in which an idea went from mental to physical, creating a directness and accessibility between artist and viewer that was shunned before.
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