THE END: An Independent Vision of Contemporary Culture, 1982-2000

1/29/2000 – 4/29/2000

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Vito Acconci, Tom Andersen, Laurie Anderson, Janine Antoni, Ida Applebroog, Mike Arvan, Michael Ashkin, Rudolf Baranik, Ron Baron, Lisa Beck, Samuel Beckett, Willie Birch, Chakaia Booker, Louise Bourgeois, Nina Bovasso, David Brody, David Henry Brown Jr., Bullet Space, Chris Burden, Ken Butler, Luis Camnitzer, Andrew Castrucci, Patty Chang, Colin Chase, Shu Lea Cheang, Sue Coe, Susanna Coffey, Nancy Cohen, Robert Colescott, Papo Colo, Maureen Conner, William Cotton, Petah Coyne, R. Crumb, Jaime Davidovich, Kim Dingle, Paul D. Miller / DJ, Daniella Dooling, Juan Downey, Jimmie Durham, Nicole Eisenman, Inka Essenhigh, Ming Fay, John Fekner, Judy Fox, Ava Gerber, John Giorno, Steve Giovinco, Michael Gitlin, Judy Glantzman, Leon Golub, Ilona Granet, Elliott Green, Gregory Green, Nancy Grossman, Jane Hammond, David Hammons, Lyle Ashton Harris, Eva Hesse, Peter Hildebrand, Jenny Holzer, Tehching Hsieh, David Humphrey, Ilya Kabakov, Brad Kahlhamer, Jerry Kearns, Shelagh Keeley, Saeri Kiritani, Christopher Knowles, Naomie Kremer, Peter Kuper, Tseng Kwong Chi, Jaron Lanier, Young Sun Lim, Pedro Lujan, George Maciunas, Alfredo Martinez, Gordon Matta-Clark, Komar & Melamid, Sean Mellyn, Ana Mendieta, Antonio Miralda, Charlotte Moorman, Arnaldo Morales, Charlie Morrow, Antonio Muntadas, Ben Neill, Shirin Neshat, Joshua Neustein, Tom Otterness, Yigal Ozeri, Roxy Paine, Gary Panter, Suzan-Lori Parks, Cesar Paternosto, Bruce Pearson, Sheila Pepe, Joyce Pensato, Judy Pfaff, Adrian Piper, Paul Ramirez-Jonas, Archie Rand, Jaques Roch, Rudy Royval, Raul Ruiz, Christy Rupp, Juan Sanchez, David Sandlin, David Scher, Carolee Schneemann, Lawrence Seward, Cindy Sherman, Amy Sillman, Kiki Smith, Nancy Spero, Art Spiegelman, Tony Stanzione, May Stevens, Elizabeth Streb, Rirkrit Tiravanija, Seth Tobocman, Fred Tomaselli, Yasunao Tone, Miguel Trelles, Anton Van Dalen, Sergio Vega, Cecilia Vicuña, Ursula von Rydingsvard, Regina Vater, Carrie Mae Weems, Brian Weil, Hannah Wilke, Sue Williams, Martha Wilson, Krzysztof Wodiczko, David Wojnarowicz, Martin Wong, Suzanne Wright, Lynne Yamamoto, Michael Zansky, Daniel Zeller

Exhibition: Throughout its eighteen year history, Exit Art focused on issues and art that were often overlooked by the traditional art world because it challenged deeply held ideas about culture. Exit Art’s projects were important and vital to seeing American culture in its broadest perspective. Exit Art has played a significant role in introducing and sustaining a multicultural dialogue and inserting this dialogue into the mainstream culture. The artists that Exit Art supported have posed new interpretations and new strategies for thinking about contemporary art and culture.

The End was an exhibition in three parts. The first part featured documentation from Exit Art’s archive, which included artist correspondence, project plans, photographs, video, slides, and the unique invitation and poster designs that Exit Art created for each project. This documentary section of the exhibition was organized chronologically, using Exit Art’s exhibition history as a guide. Following this chronology the public was able to follow the history of Exit Art’s curatorial process and language. The second part of the exhibition featured original art by over 100 artists that were a significant part of Exit Art’s history. The final aspect of the show was dedicated to artists who participated in Exit Art’s performance projects; they were featured through a series of video and slide presentations.

NEO: New Approaches to Artmaking

5/20/2000 – 8/19/2000

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Remy Amezcua, Woo Song Bang, Tari Campbell, Peter Coe, Pedro Cruz-Castro, Laura Dunn, Anna Ehrsam, David Henderson, Daren Kendall, Hilary Koob-Sassen, Elka Krajewska, Yucef Merhi, David Opdyke, Francis Palazzolo, Hunju Park, Eung Ho Park, Scott Reynolds, Han Sam Son, Edouard Steinhauer, Michael Zansky, Elizabeth Zawada

Exhibition: Neo marked a new way of exposing artists, not as a traditional group show, but rather as a series of individual presentations woven together according to the artists’ process and aesthetic. The purpose of this was to construct a collective expression with individual voices, experimenting with the intent of a group show. This idea was based on the physical aspect of the archipelago, a group of individual islands that make up one cultural expression.

Neo was Exit Art’s new artist exhibition for the year 2000, a curatorial review of some of the freshest and most innovative contemporary art being produced by young or emerging artists who had not yet received significant exposure for their art. Neo was about new approaches to art making. For many of these artists, Neo represented the first significant investigation and contextualization of their work.

PARADISE NOW: Picturing the Genetic Revolution

9/9/2000 – 10/28/2000

Curator(s): Marvin Heiferman and Carole Kismaric

Artists: Heather Ackroyd and Dan Harvey, Suzanne Anker, Dennis Ashbaugh, Aziz + Cucher, Brandon Ballengée, Christine Borland, Nancy Burson and Davis Kramlich, Helen Chadwick, Kevin Clarke, Keith Cottingham, Bryan Crockett, Hans Danuser, Christine Davis, Mark Dion, George Gessert, Rebecca Howland, Natalie Jeremijenko, Ronald Jones, Eduardo Kac, David Kremens, Jane Lackey, Julian LaVerdiere, Iñigo Manglano-Ovalle, Karl S. Mihail and Tran T. Kim-Trang, Larry Miller, Steve Miller, Frank Moore, Alexis Rockman, ®™ark, Bradley Rubenstein, Nicolas Rule, Christy Rupp, Gary Schneider, Laura Stein, Eva Sutton, Catherine Wagner, Carrie Mae Weems, Gail Wight, Janet Zweig and Laura Bergman

Exhibition: The artworks shown in Paradise Now were of the moment – that is, innovative in content or rendering – and included both seminal works that have become benchmarks in the field as well as new works that were exhibited for the first time. Media on view included installation and mixed-media works, interactive and on-line projects, photographs, painting, and sculpture. Paradise Now was divided into two sections. The first featured work that addressed research into the nature of the human genome, and the second included works exploring the implications of biotechnology on animal and plant life.

The artworks addressed a number of major issues, including: Race – the implications of genetic research confirming that humans of all races are 99.9 percent genetically the same; Economics – ownership of genes and whether they should be patented and sold to the highest bidder; Reproduction – germ-line gene therapy and how it could be used to design babies and/or improve the health of human beings before they are born; privacy – DNA identification and who has access to the information; Health – how gene therapy and new technologies will be used to prevent and treat disease; Food Safety – risks and benefits of genetically engineered food crops and animals.

A selection of scientific artifacts were displayed alongside works of art to give the public a better grasp of the scientific research and its meaning, including: Dr. James D. Watson’s 1953 painted metal and wire model of a DNA molecule, a gene chip the size of a postage stamp, a sampling of a vast paper printout of the human genome, pop-culture ephemera as science fiction and cartoon imagery.

Events: What Can We Expect?, a panel organized in conjunction with the Gene Media Forum; Paradise Now: Picturing the Genetic Revolution, a panel discussion.

Publication: The catalog for Paradise Now: Picturing the Genetic Revolution was edited by Ian Berry; featured an introduction by curators Marvin Heiferman and Carole Kismaric and an afterword by Charles Stainback. Images of works by artists in the exhibition included those by Mark Dion, Alexis Rockman, Carrie Mae Weems, Jin Lee, and Suzanne Anker, among others. 154 pages.

Travel: The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (September 16, 2001 – January 6, 2002)


11/10/2000 – 1/6/2001

Curator(s): Greg Allen, J.K. Brown & Eric Diefenbach, Norman Dubrow, Richard Ekstract, Raymond Learsy, Greg Miller, Ann Tenenbaum, and Paige West

Artists: Haluk Akakce, Lorenzo de los Angeles, Richard Billingham, Nathan Carter, Chris Chiappa, Bonnie Collura, Rob Conger, Gregory Crewdson, Jay Davis, Benjamin Edwards, Arturo Elizondo, Jeff Elrod, Manuel Esnoz, Patrick Faegenbaum, Gajin Fijuta, Judy Fox, Henry Furnas, Torben Giehler, Wendell Gladstone, James Gobel, Anthony Goicolea, Daniela Gullatta, Katy Grannan, Isca Greenfield-Sanders, Nanna H, Jan van Imschoot, Chris Johanson, Howard Johnson, Justine Kurland, Myriam Laplante, Michael Lazarus, Rosa Loy, Layla Lozano, Vera Lutter, Marie Marden, Julie Moos, Vic Muniz, Juha Nenonen, Catherine Opie, Erik Parker, Aaron Romine, Sally Ross, Christian Schumann, Alejandra Seeber, Jean Shin, Martin Sjoberg, Suzanna Star, Lee Stoetzel, Beat Streuli, Hiroshi Sujimoto, Austin Thomas, Wolfgang Tillmans, Michael Timpson, Mette Tronvoll, Leo Villareal, Dirk Westphal, Joanna Whittle, Su-en Wong, Amy Yoes

Exhibition: Collector’s Choice was Exit Art’s third-annual “choice” exhibition – an ongoing project that invited different segments of the art world to function as guest curators. For 2000, eight New York collectors were asked to “shop the market” and showcase emerging artists who caught their eye.

Each invited collector was presented with the following scenario: you’ve just received an inheritance of $50,000, with the sole stipulation that the money be used to buy contemporary art, what would you buy? The guest curators were encouraged to seek out works that were genuinely available, and when possible, to look beyond what they already own and collect. The aim was to simultaneously demonstrate each collector’s individual preferences and tendencies, and to demonstrate the accessibility and availability of outstanding contemporary art.