Looking Back: The Eighth White Columns Annual – Selected by Pati Hertling

Ellen Cantor Death Skull, 2008 Colored pencil and collage on black paper 11 ½ × 16 in. (A framed work composed of pink and white drawings and cut outs on black paper. A skull is in the center, surrounded by hands, swirling fleur de lis motifs, a face in profile, and applied geometric cut outs. Text in all caps appears throughout the composition, notably including the words “PANIC,” “CHAOS,” and “ORDER.”)

Lucy Dodd Shshshccchhhrrrrair, 2013 Chrome steel, dyed rope 23 × 30 × 20 in. (Colorful rope is wrapped and woven over the frame of an armchair. Below, there is a glowing light source. The space itself is dark, and two other artworks, Sergei Tcherepnin’s Piper’s Helmet and Dodd’s NYT (Joy Tonic Bar) are to the side.)

Moyra Davey Bottle (10), 1998 Silver gelatin print, edition of 5 11 × 14 in. (A framed black-and-white photograph shows a cluttered tabletop. A bottle filled with rolled paper is in the center of the image.)

Moyra Davey Bottle (11), 1998 Silver gelatin print, edition of 5 11 × 14 in. (A framed black-and-white photograph of an empty glass bottle on a wooden table. The space is lit so that the background of the composition is vertically split with black on the left and white on the right.)

Danh Vo Untitled, 2013 Set of 6 photogravures, edition 1 of 24 (A framed black-and-white image of a hand resting against bunched up fabric. The palm is facing up, and the fingers are languidly curled.)

Jason Simon Michele, c. 1990–2000 6 Polaroid roll film pictures in facsimile promotional mounts, unique, Framed: 29 × 16 in. (Six black-and-white polaroids are arranged within one frame. Text wraps around the mount of each image.)

Jason Simon Simin, c. 1990–2000 6 Polaroid roll film pictures in facsimile promotional mounts, unique Framed: 29 × 16 in. (Six black-and-white polaroids are arranged within one frame. Text wraps around the mount of each image.)

Lonnie Holley Reaching My Gold, 2011 Mixed media 50 × 15 × 14 ½ in. (A pickaxe, rusted metal funnel, and pipe are conjoined together and attached to a marble block with wire. The sculpture is installed directly on the floor against a pink wall.)

James Richard Video still from Rose Bud, 2013 Black and white digital video with sound RT: 10 minutes (A black-and-white video is shown on a monitor installed on a dark red wall. The video still shows a book opened to an image of a man wearing leather assless chaps holding a whip. His body is contorted so his face and rear simultaneously confront the camera, and his buttocks are scratched out from the image.)

Raha Raissnia Untitled, 2013 Image transfer sumi ink, compressed charcoal, and collage on paper Paper: 14 × 17 in. (unframed), Framed: 18 5/8 × 21 ¾ × 1 ½ in. (A framed black-and-white mixed media work on paper hangs on a gray wall. There is a hazy, disorienting quality to the composition, and there appears to be a shadowy figure lying in the fetal position on a mattress behind a doorway.)

No-Neck Blues Band July 14 (profit, haruspex), N.D. Mixed media 11 × 3 ½ in. (A framed collage hangs on a pink wall. The composition is made up of torn and cut pieces of paper, black marks, and pieces of tape. In the center is a black-and-white portrait of a man wearing a suit with a star added above him.)

K8 Hardy Diet Mother, 2013 Mixed media 7 × 5 × 5 in. (A sculpture sits on a wooden shelf against a pink wall. A crushed soda can is affixed to a white base with a roughly sculpted figure set behind it.)

Carissa Rodriguez It’s Symptomatic / What Would Edith Say?, 2013 Permanent ink marker on inkjet print mounted on Plexiglas, wood brace 60 × 35 ½ in. (An image of an outstretched tongue is hung on a pink wall. Signatures and sporadic writing cover the image.)

Konrad Lueg Untitled (Gummibärchen), N.D. Gummy bears, felt pen on graph paper Paper: 10 × 7 × 7/8 inches Framed: 17 ¾ × 14 3/8 in. (A piece of graph paper is framed and hung on a pink wall. Black gummy bears are arranged in a horizontal line across the center of the page, casting a dark shadow.)

Stefan Tcherepnin Concrete Mandalas (post intervals), 2013 Fabric, wood, cement, Masonite, chlorella, craft beers, sodium silicate, catuaba bark powder, ink Dimensions variable (A gray curtain hangs in the corner of a gallery space with pink walls and a gray floor. On the floor below the curtain, three bean-shaped platforms of varying heights are arranged together.)

Scott Ewalt Felix a go-go, 2003 Paint, wood, and night club residue 48 × 48 × 36 in. (A wooden platform with a weathered, orange surface sits on a gray floor.)

Barbara T. Smith, installation view, 2014 (Two 1965 Xerox sculptures by the artist are placed together in a vitrine, Pyramid on the left and Memo Pad on the right.)

Emily Sunblad, installation view, 2014 (Two ink drawings on paper from a Colony Club memo pad. The left work depicts two figures and the right depicts a hand.)

Dawn Kasper Repeat, 2014 Acrylic on canvas 47 × 58 in. (An unstretched canvas with painted black lines and two dots lays flat on a gray floor.)

Amy Yao Skeleton #5 (Drunk on success), 2013 Fiberglass, polyester resin and aluminum 45 × 19 1⁄4 × 30 1⁄2 in. (A four rung ladder stands near a white wall. There is writing on its sides.)

Karl Holmvquist ‘K, 2012 (An orange book with a  large “‘K” made up of smaller “‘K’s” on its cover rests on a gray surface.)

Malin Arnell Slow dancing with two fans, 2014 Durational action (Two fans shown side by side at the end of a gray stairwell.)

Tony Conrad Untitled, 2013 Glass with metal hardware 68 × 40 × 1⁄2 in. (A vertical glass pane hangs from the ceiling. There is a hole cut-out roughly in the top center of the glass.)

Marisa Merz Untitled, 1970 Nylon string triangle and iron 8 3/8 × 11 1⁄2 in. (A triangle made from overlapping sticks is affixed to the wall.)

Mary Beth Edelson Honey Painting, 1972 Wood, glass, nails, ceramic bowl, paper, honey Board: 15 ¼ × 13 × 1 ¼ in., Ceramic bowl: 9 ¾ × 4 in. (A honey frame is mounted on a gray wall. Drips from the honeycomb trace down the wall towards a ceramic bowl placed on the floor.)

Lucy Dodd Beyond Britain, 2013 Metal, Wood, Tempera, Bubs Urine, and Natures Miracle on Canvas 18 × 21 × 12 × 24 in. (A construction made from wood and a bent metal rod hangs over a horizontal water pipe.)

Lonnie Holley Waiting On My Takeout, 2013 Found object assemblage (An assemblage of found objects, including a plastic takeout bag, chopsticks wrapper, and corded telephone. The objects are gathered together in a vertical, columnar arrangement and tied together with crimped curling ribbon.)

Rosemarie Trockel Paranoia, 2013 Acrystal, perspex, digital print, and acrylic paint 23 5/8 × 23 5/8 × 3 1/2 in. (A black-and-white image of a bare torso is shown from an angle. Something white has been attached to the middle of the work, casting a shadow.)

Senga Nengudi Rapunzel, 1981 Silver gelatin print (photo documentation), edition of 5 40 × 30 in. (A framed black-and-white image shows the corner of a brick building, which has been partially demolished. From a window above the damage, someone stands with stockings on their head. The legs of the stockings are stretched and tied to two black wires outside the building.)

Ulrike Muller Mirrors, 2013 Vitreous enamel on steel 15 ½ × 12 in. (A horizontal abstract enamel work is hung on a wall. A narrow “U” shape extends from top to bottom through the center of the work and is filled in with a deep black, and a slate blue circle is tucked in the base of its curve. The surrounding area is a dark brown shade.)

Mary Beth Edelson, Study Table: Physical Remains, 2013 Wooden table, books, printed matter, glass vitrine, plexiglass, and two unique books by the artist 60 × 44 × 34 in. (A top angle view of a white table covered in printed matter. The back right corner of the table has a two-level vitrine containing opened books.)

Alicia McCarthy Untitled, 2013 Colored pencils in matchbook 2 1/8 × 1 1/2 in. (A small, weathered piece of wood is affixed to a pink wall with a Nitedals matchbox, turned on its side, resting on top. From the box, small pieces of colored pencil pigments spill out.)

Hannah Wilke Untitled (Single Gum Sculpture), c. 1975 Gum in Plexiglas box 2 ½ × 2 ½ × 1 in. (Four colors of apparently chewed gum, orange, brown, white, and yellow, are layered together and swirled to create an arched shape. The structure is displayed within a Plexiglas box that is hung on a pink wall.)

Alicia McCarthy Untitled, 2013 Gouache, found house paint, spray paint on found wood 36 × 48 in. (Two curve streaks composed of colored bands intersect against a pale yellow and green background. The background is split horizontally through the center.)

 Lionel Ziprin Conversation, 1955 Paper 11 × 8 ½ in. (A worn, yellowed piece of paper has a poem titled “CONVERSATION” printed on it. Handwritten edits and notes appear over the printed text.)

Zilia Sánchez El Significado del Significante (The Significant of the Signifier), 1968 Ink on paper 14 × 19 ¾ in. (An abstract drawing is framed and hung on a pink wall. Rounded, amorphous forms and nets are rendered in dotted ink.)

Installation view, 2014 (Two adjacent walls are shown in a gallery. On the left gray wall is Raha Raissnia’s Untitled, 2013, and on the right pink wall is Lonnie Holley’s Reaching My Gold, 2011.)

 Installation view, 2014 (Eight framed black-and-white photographs are installed in two rows on adjacent pink walls, with six on the right and two on the left.)

Installation view, 2014 (A pink wall shows five works installed in an uneven row. From left to right: Lionel Ziprin’s Conversation, 1955; Konrad Lueg’s Untitled (Gummibärchen), Unknown Date; Tony Conrad, Pickled E.K. 7302-244-0502 #7, April 2006, 2006; No-Neck Blues Band’s July 14 (profit, haruspex), N.D.; and K8 Hardy’s Diet Mother, 2013.)

Installation view, 2014 (A frontal view of Scott Ewalt’s Felix a go-go, 2003 installed on the floor with Senga Nengudi’s Rapunzel, 1981 hung behind it on a pink wall.)

Installation view, 2014 (A gallery space with a central free-standing gray wall and pink walls on the perimeter of the room. Three pedestals are arranged in the center of the room. Various works are displayed on the walls and pedestals.)

 Installation view, 2014 (An angled view of adjacent gallery walls. On the left pink wall is Zilia Sánchez’s El Significado del Significante (The Significant of the Signifier), 1968, and on the right gray wall is Alicia McCarthy’s Untitled, 2013. Exhibited in the center of the space are Amy Yao’s Skeleton #5 (Drunk on success), 2013 and Tony Conrad’s Untitled, 2013.)

Installation view, 2014 (Multiple works are installed within a gallery space. In the center of the room stand three pedestals of varying heights displaying works. The walls and pedestals are alternately painted pink and gray.)