be a cloud not a grid

"Rainbagladybow" The Push Pop Collective collaboration with Andrea Bonin 11 x 17 in.  performance  poster 2011
Rainbagladybow
The Push Pop Collective
collaboration with Andrea Bonin
11 x 17 in.
performance
poster
2011

Artist as Curator: Theresa Anderson

Artists: Jaime Carrejo, Go! Push Pops (Katie Cercone + Elisa Garcia de la Huerta), Tobias Fike + Matthew Harris, Carl Hazlewood, Kathy Knaus, Bruce Price, Pamela Reed + Matthew Rader, Zach Reini, Laura Shill, Tracy Tomko, Rebecca Vaughan

Opening Reception: Friday, January 17, 2014 6-9 p.m.

Exhibition Dates: January 9- March 8, 2014

Art Talk: Saturday, February 22, 2014 2-4 p.m. with talk at 3 p.m.

Hours: Thursday–Friday: 2–6 pm, Saturday: 1–4 pm (other days by appointment)

Always open for the well-known First Friday and Third Friday art walks from 6 to 9 pm.

FOR IMMEDIATE RELEASE

Contact: Theresa Anderson, theresandersonartatgmaildotcom

Vertigo Art Space

960 Santa Fe Dr

Denver, CO 80204

(303) 573-8378

Be a cloud not a grid1″ is a group exhibition of 11 artists (or collaborations) whose work in sculpture, performance art, fabric, video, household items, and painting reflect upon this most current time period that philosopher and aesthetic theorist, Sianne Ngai argues in her book, Our Aesthetic Categories, Zany, Cute, Interesting, is defined in our “hypercommodified, intensively informated and networked, performance-driven conditions of late capitalism.”2 Michael Hardt also names this period of postmodernization “where providing services and manipulating information are at the heart of economic production.3

Highlighting the nuances between labor and softness, commodities and economies of desire (what Marx and Freud called desiring production), the relationships between performative actions that reference zany animated production required of modern capitalism’s service workers4 and even the “boredom and disinterestedness” shared and liked on social media platforms where a commodities brand is produced through unpaid and uncounted actions- precisely because of these differences this kind of grouping of artists and their works remain at the edge of understanding current cultural production.

In the referenced text, Ngai posits that the zany, cute, and interesting “revolve around multiple and even conflicting feelings: tenderness and aggression, in the case of the cute; fun and unfun, in the case of the zany; interest and boredom, in the case of the interesting and that these categories are a reflection upon contemporary feelings of powerlessness.”

I must give a very special thanks to Amber Cobb and Cortney Lane Stell whose two previous serial curations, “Stuff[ed]and “Soft Subversions,” set me on this path of understanding and especially to Kara Duncan who has invited me to think about my own work in relation to the artist functioning as curator as part of Vertigo Art Space’s artist as curator series.


1 Quote by Bruce Price on the Untitled Art Show http://untitledartshow.com/?p=2984

2 Sianne Ngai, Our Aesthetic Categories Zany, Cute, Interesting (Cambridge, Massachusetts, and London, England, Harvard University Press 2012)

3Hardt, Michael. Affective Labor, http://www.jequ.org/files/affective-labor.pdf

4 Ibid. 197-232.

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