Go! Push Pops
"Go! Push Pops is a transnational, queer feminist dialogue that began while we attended SVA together 2009-2011. Interrogating female subjectivity, race, nation, class, sexuality, spirituality and the expressive potential of embodied wisdom, our work together exemplifies a new wave of feminism moving toward showing rather than telling female power. This work is postcolonial, feminist toil. A hybrid amalgamation of indigenous myth and ritual, new age spiritualism, hip hop/pop culture and 70s feminist performance and body art, Go! Push Pops explores the evocation of style and guts as a type of transnational, spiritual swag speaking truth to power."Super excited to include 5 works by Go! Push Pops in the upcoming exhibition be a cloud not a grid!
Artist as Curator: Theresa Anderson
Artists: Amber Cobb + Jason Below, 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 VaughanOpening Reception: Friday, January 17, 2014 6-9 p.m. Exhibition Dates: January 9- March 1, 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. Be a cloud not a grid,1 is a group exhibition of 12 artists (or collectives) whose work in sculpture, performance, 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 as the hypercommodifi(ed), mass-mediat(ed), performance driven world of late capitalism.2 Highlighting the nuances between labor and softness, commodities and economies of desire, the relationships between performative actions that reference zany animated production required of modern capitalism's service workers,3 and even the “boredom and disinterestedness” shared and liked on social media platforms where a commodities brand is produced through an unpaid and uncounted actions- precisely because of these subtle differences these artists and their works remain at the edge of understanding cultural production. I 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.