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EXIT HISTORY:
Speaking Tongues
1/17/1992 - 1/18/1992
Performance: Speaking Tongues were performance evenings that explored
the diverse uses of the English language by writers and performance
artists writing and publishing in English. At a time when the culture
of this country was changing as the result of shifting populations,
our perception of American culture was also transforming. This
is reflected in the way writers and performers were introducing
new uses of the language. Speaking Tongues examined how writers
of diverse backgrounds who are writing in English are influenced
by other cultures and how that changes their creative use of the
English language. Each evening was organized by one writer, around
a specific idea.
John Fekner: Remnant Memory: Fragments, Fossils, Trophies, Plaques
2/1/1992 - 3/7/1992
Curator(s): Papo Colo and Jeanette Ingberman
Exhibition: This show combined a documentary
overview of Fekner’s
extensive outdoor site-specific stencil works from 1977 to 1985
with a new installation of recent works. Fekner's work has explored
the issues of decay, the effect of technology on our culture,
the change of America from an industry-based economy to one based
and
information and technology. A slide installation displayed images
of dozens of his stencil words that had appeared in New York
City mostly on or near abandoned industrial sites. His recent sculptures
used compact disc as the basis for creating industrial fossils.
Willie Birch: A Personal View of Urban America
3/28/1992 - 4/25/1992
Curator(s): Papo Colo and Jeanette Ingberman
Exhibition: This exhibition presented an overview of Birch's paintings
and sculptures from 1986 to 1992. Birch's work reflects a contemporary
interpretation of the folkloric language of art. He has assumed
the role of a chronicler of African-American history by recording
both internationally significant events and the daily reality of
everyday contemporary urban life. His paintings depict the reality
of New York neighborhoods in images of social inequities, racial
tensions, relentless crime and poverty as well as scenes of intimate
daily communal life such as the church, the barbershop, and the
family at home. Birch also documents significant international
events in African American history such as Nelson Mandela's trip
to America.
Publication: A catalog for the exhibition includes texts by William
Fagaly, an introduction by Papo Colo and interview with the artist
by Jeanette Ingberman.
Shu Lea Cheang: Those Fluttering Objects of Desire
5/2/1992 - 5/20/1992
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Laurie Carlos, Lawrence Chua, Jessica
Hagedorn, bell hooks, Renee Tajima, Robbie McCauley, Indu Krishnan,
Gloria Miguel,
Cheryl Dunye, Mary Ann Toman, Shu Lea Cheang, Rea Tajiri, Pamela
Jennings, Coco Fusco, Helen Lee, Tati Nguyen, Yong Soon Min,
Robin & Suzi,
Victoria Maldonad, Lona Foote, Valerie Soe, Adriene Jenik
Exhibition: Shu Lea Cheang's work has addressed the misconceptions
of racial assimilation, exposing preconceived notions of race and
gender. This new installation created a discourse on sexual politics
in the context of post-colonial, interracial sexual relationships.
It reversed the role of women as the object of desire by refusing
to submit women as objects of the gaze. Women artists and writers
of diverse ethnic backgrounds were invited to participate in constructing
the work, each drawing on their personal experiences to create
the individual video and audio works. The new works in this installation
created a dialogue based on women's perspectives that countered
the current state of sexual repression and conservative censorship.
The installation had two components:”1-900-DESIRES” appropriated
the popular telephone sex lines, but substituted an audio montage
of personal encounters by the participating artists. They were
listened to through reconstructed telephones. “Channels of
Desire” used the model of video porn booths to showcase the
video break-ins by invited women media artists. After inserting
a quarter into the machine, viewers could select from five channels
of alternative images.
Fever
12/14/1992 - 2/6/1993
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Thomas Riley Andersen, Ronald Baron, Tom Burkhardt, Andrew
Castrucci, Paul A. Castrucci, Colin Chase, Nadia Coën, Don
Colley, Samuel F. Crawford, Kim Dingle, Karen Dolmanisth, Daniella
Dooling, Loren Eiferman, Nicole Eisenman, Ava Gerber, Judy Fox,
Elliott Green, Gregory Green, Elizabeth Hall, Lyle Ashton Harris,
Robin Kahn, Annetta Kapon, Ron W. Kim, Diana Klein, Vivienne Koorland,
Naomie Kremer, Charles LaBelle, Rachel Lachowicz, John LeKay, Marcia
Lyons, Warren Neidich, Shirin Neshat, Roxy Paine, Paul Ramírez-Jonas,
Paul Rosin, Rudy Royval, Leslie Sharpe, Tony Stanzione, Susan Stein,
Alan Stone, Rirkrit Tiravanija, Fred Tomaselli, Michael Yue Tong,
Anton Vidokle, Megan Williams, Lynne Yamamoto, Daniel H. Zeller
Exhibition: In December 1992 Exit Art opened in a new location
in a greatly expanded facility. The first exhibition of the new
space was Fever, a dynamic group show of 47 younger and emerging
artists from around the country. Fever was an expression of the
pulse of the youth of the country - a selection of attitudes and
perspectives of younger artists. Much of the work addressed issues
of sexuality, political activism and a new aesthetic attitude in
formation. The exhibition included painting, sculpture, installation
and photography. Women's issues, sexual roles and greater political
involvement were among the issues involving a new generation of
artists' works. Fever revealed how the younger artists, by forging
new ideas in their artwork, are linked to the changing political
and social climate of this country. Fever was a view of the fresh
eye, a construction of the impulses of the strong hand of the youth,
an installation of fertile individuals that begins to flourish
in front of our own experienced faces.
Travel: The Wexner Center for the Arts, OH
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