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EXIT HISTORY:
1920: The Subtlety of Subversion/The Continuity of Intervention
3/6/1993 - 4/17/1993
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Laurie Anderson, Ida Applebroog, Lutz Bacher, Lillian
Ball, Louise Bourgeois, Kathe Burkhart, Mary Carlson, Maureen Conne,
Mary Ellen Croteau, Nicole Eisenman, Fierce Pussy, Barbara Friedman,
Leslie Fry, Ava Gerber, Judy Glantzman, IIona Granet, Nancy Grossman,
Beth Haggart, Jerelyn Hanrahan, Eva Hesse, Rachel Harrison, Lisa
Hoke, Jenny Holzer, Kate Howard, Rebecca Howland, Robin Kahn, Kit
Keith, Samm Kunce, Zoe Leonard, Lilla LoCurto, Marcia Lyons, Marlene
McCarty, Ana Mendieta, Charlotte Moorman, Portia Munson, Cara Perlman,
Adrian Piper, Rona Pondick, Pike Powers, Monique Safford, Carolee
Schneemann, Cindy Sherman, Elise Siegel, Amy Sillman, Nancy Spero,
Chrysanne Stathacos, Jude Tallichet, Joy Taylor, Kerry Vander Meer,
Carrie Mae Weems, Hannah Wilke, Sue Williams, Martha Wilson
Exhibition: 1920 was a group exhibition of over fifty contemporary
women artists. 1920 showcased a younger generation of women artists
emerging in the '90s whose work deals with issues of feminism,
gender, and identity. It put their work in context by exhibiting
these artists with those of an older generation of women artists
who had addressed similar concerns in the '60s, '70s and '80s.
The exhibition takes its title from the year 1920 in which the
19th Amendment to the Constitution was passed and women won the
right to vote in the U.S.
Opium Den: Desires & Disappointments
4/23/1993 - 4/23/1993
Curator(s): Bradley Eros and Jeanne Liotta
Film and Video Program: Opium Den was a collective of film and
video makers and viewers who gathered together once a month to
show new work and works in progress. Opium Den provided a forum
for discussion among experimental filmmakers.
The Design Show: Exhibition Invitations in the U.S.A., 1940 -
1992
5/1/1993 - 7/24/1993
Curator(s): Jean-Noel Herlin
Exhibition: The Design Show was a comprehensive presentation of
exhibition invitations produced by museums, galleries, and alternative
spaces in the United States from 1940 to 1992. This was the first
of a series of exhibitions that Exit Art presented exploring issues
of graphic design. The Design Show represents the first comprehensive exhibition in
this country to historically and critically examine the design
of exhibition invitations and their significance as cultural and
art historical artifacts. Over 230 exhibition invitations covering
five decades were selected from several private collections and
the archives of The Museum of Modern Art in New York.
The Design Show explored how the history of exhibition invitations
has expanded our graphic vocabulary. The works in the exhibition
displayed a remarkable diversity of materials, from paper to cloth,
metal, rubber and plastic and the innovative use of shapes from
napkins to matchbooks, bandanas, buttons and slides.
Shelagh Keeley: In Vivo: Drawings and Objects
5/1/1993 - 6/12/1993
Curator(s): Papo Colo and Jeanette Ingberman
Exhibition: In Vivo was a major exhibition of
the drawings and objects of Shelagh Keeley, a Canadian born artist
who has resided
in the U.S.A. since 1984. Inspired by the physical body, Keeley's
drawings were a dissection, excavation and archeology of the body
as a vehicle to explore conceptual, formal, and intuitive considerations.
She translated gestures of the body into a wide range of markings,
unleashing a treasure of associations: primeval, sexual, organic,
historical, archaeological. Her drawings were frequently referenced
with texts or photographs. Using imagery with medical, sexual,
and anatomic references, she fragmented, abstracted, abbreviated
and removed these insinuations from our usual considerations of
the body. The presentation included drawings from 1985 to 1992
on paper and vellum, drawings on large pieces of sheet metal, a
handmade book, and sculptural objects. Publication: A catalog was
published in Fall of 1994 with a major essay by Johanna Drucker,
Assistant Professor of Art History at Columbia University, and
documentary photographs of Keeley's work.
Michael James O’Brien:
Assembling Gender, Photographs, 1990-1993
5/1/1993 - 7/24/1993
Curator(s): Papo Colo and Jeanette Ingberman
Exhibition: Assembling Gender was a series of photographs of men
and women in drag and butch drag taken by Michael James O'Brien
over the previous three years. The photographs were taken in New
York, Paris, London, Berlin, Rio de Janiero, Miami, and Los Angeles.
They ranged from outdoor photographs of men and women celebrating
Carnival in Rio, Halloween in Los Angeles, and Wigstock in New
York, to more intimate portraits of his subjects in their homes.
The striking images of people in drag confront the viewer with
the reality that one's identity: male and female, straight and
gay is not fixed or exclusive. Drag is seen as a revolutionary
act that points to the transformative power that an individual
has over one's identity, by creating his or her own persona. These
adaptations of 'flexible identities' create a type of cultural
pressure that subverts the status quo by coexisting with the attitudes,
dress codes and consciousness of different collective groups in
our metropolises, confirming the vitality of the spectrum of identities
in contemporary public life.
Cesar Paternosto: Abstraction as Meaning: Painting and Sculpture
6/15/1993 - 7/24/1993
Curator(s): Papo Colo and Jeanette Ingberman
Exhibition: This exhibition of paintings and sculptures by César
Paternosto presented an important series of work made during the
1980s that has not been seriously examined. Paternosto, an Argentinean
born artist living in New York since 1967, has maintained a commitment
to abstract painting for over thirty years. Initially the abstraction
in Paternosto's work was inspired by the early European Modernist
movements, especially Russian Constructivism. In 1977, Paternosto
traveled to Peru, a journey that profoundly changed his work. In
Peru, Paternosto found a meaning for the use of abstraction based
on the tradition of pre-Columbian art from the Incas. The forms
found in Incan stone carvings and weaving were abstract and geometrical.
This basis provided a cultural identification for Paternosto's
abstraction that legitimized his continued production of abstract
paintings. The palate of the paintings reflects the South American
landscape using pigments from the earth which links Paternosto's
work to nature. Paternosto's abstracted forms provided a new point
of view for his art, an inspiration that abstraction could go beyond
formalist concerns to include a broader cultural tradition. For
Paternosto, the Peruvian influence was also important in expanding
a gender issue of male art. Because he was exploring weaving, traditionally
a "female" art form, Paternosto referred to an ancient
cultural tradition that actually included entire communities.
Comic Power: Independent/Underground Comix, U.S.A.
9/18/1993 - 10/30/1993
Curator(s): John Carlin and Carlo McCormick
Artists: Doug Allen, Peter Bagge, Isabella Bannerman, Lynda Barry,
Mark Beyer, Jim Blanchard, Vaughn and Mark Bode, Chester Brown,
Charles Burns, Steven Cerio, Howard Chaykin, Russell Christian,
Dan Clowes, Sue Coe, Joe Coleman, R. Crumb, Howard Cruse, Scott
Cunningham, Dame Darcy, Georganne Deen, Kim Deitch, Evan Dorkin,
Julie Doucet, Pascal Doury, Eric Drooker, Dennis Eichhorn, Tim
Fielder, Mary Fleener, Drew Friedman, Phoebe Gloeckner, Justin
Green, Bill Griffith, Rick Griffin, Sabrina Jones, Glenn Head,
Ric Heitzman, Danny Hellman, Gilbert Hernandez, Jaime Hernandez,
Stephen Holman, Jarrett Huddleston, Brad Johnson, Ben Katchor,
Kaz, J.D. King, Aline Kominsky-Crumb, Stephen Kroninger, Krystine
Kryttre, Peter Kuper, Carol Lay, Gary Leib, Steve Marcus, Mark
Marek Mariscal?Paul Mavrides, David Mazzucchelli, Heather McAdams,
Patrick McDonnell, Richard McGuire, Pat Moriarity, Victor Moscoso,
Mark Newgarden, Diane Noomin, Gary Panter, Savage Pencil, The Pizz,
Mimi Pond, Kevin C. Pyle, P. Revess, Bruno Richard, Trina Robbins,
Spain Rodriguez, Jonathon Rosen, Jonathan Royce, Richard Sala,
David Sandlin, Dori Seda, P. Shaw, Gilbert Shelton, R. Sikoryak,
Siobhan, Art Spiegelman, Leslie Sternbergh, S.M. Taggart, Seth
Tobocman, Ray Tompkins, Lance Tooks, Carol Tyler, Chris Ware, Wayne
White, J.R. Williams, Robert Williams, S. Clay Wilson, Jim Woodring,
Angela Wyman, Thomas Zummer
Exhibition: Comic Power focused upon the emergence of underground
and independent comics, commonly referred to as comix, in the United
States. Unlike the commercial comic industry, underground comics
are designed primarily for an adult audience. The themes and issues
engaged by underground comic artists are explicitly personal, with
powerfully idiosyncratic sexual, social and political themes. Also,
underground comic art is strongly visual, putting forth an innovative
approach to graphic design and artistic expression that is built
upon and challenges traditional comic strip form and content.
Comic Power considered underground comics in the context of its
hybrid nature: as an art form and as an instrument of popular
culture. The exhibition highlighted the innovative design that
forms the basis for all comic art, providing audiences with an
understanding of the relationship between art and text, subject
matter and audience.
Comic Power consisted of over 250 examples of work by comic artists.
It included original drawings published in independent comic
books and a reading area consisting of hundreds of comic books,
anthologies, and other independent publications from across the
U.S., Canada, and abroad providing an important context for which
to understand the artwork presented.
Travel: Massachusetts College of Art, MA, Vancouver Art Gallery,
Canada, Dunlop Art Gallery, Regina, Canada
Poverty Pop: The Aesthetics of Necessity
11/13/1993 - 1/8/1994
Curator(s): Papo Colo and Jeanette Ingberman
Artists: Ron Baron, Ken Butler, Nicole Carstens, John Drury, Vincent
Garguilo, Ava Gerber, Daryl Graff, Beth Haggart, Rachel Harrison,
Kate Howard, Barry Hylton, Charles LaBelle, Kevin C. Pyle, Joy
Taylor, Fred Tomaselli, Sergio Vega
Exhibition: Poverty Pop was a definition of a body of work that
Exit Art had encountered in artist studios over the previous
few years. Poverty Pop was a group exhibition of artists who made
work
from found materials. Out of economic necessity, a generation
of artists were recycling found objects and transforming this refuse
into visual metaphors. The work reflected the economic times
that
we are living in and demonstrates the artists’ ingenuity
to make art from discarded products. Poverty Pop was about urban
folklorism.
Mapping Interior Spaces: Video at the Edge of the Millennium
11/17/1993 - 11/19/1993
Curator(s): Electronic Arts Intermix
Artists: Lawrence Andrews, Cheryl Donegan, Tom Kalin, John Lindell,
Julie Zando, Sadie Benning, Cheryl Dunye, Mike Kelley, George Kuchar,
Eder Santos, Shelly Silver.
Video Program: Organized by Electronic Arts Intermix, these two
evenings presented a selection of recent videos by artists engaged
in the evolving dialogue of contemporary identity. Holding up a
mirror to reflect interior and social spaces, using video to map
out intimate terrain, these artists revealed profoundly subjective
yet highly politicized visions of the body and the self.
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