White Columns Online:
‘Private Behavior’
curated by Lauren Marinaro

June 18–September 12, 2020 Online
Karen Asher Wallpaper, 2016 C-Print 25 x 25 in. Courtesy of the artist. (A photograph depicting two intertwined figures dressed in black clothes, their faces hidden. They sit on a wooden table against a backdrop of pink and blue floral wallpaper.)

Karen Asher
Wallpaper, 2016
C-Print
25 × 25 in.
Courtesy of the artist.

Karen Asher Dye Job, 2015 C-Print 25 x 25 in. Courtesy of the artist. (A photograph depicting a pair of hands dying a woman's hair in the bathtub.)

Karen Asher
Dye Job, 2015
C-Print
25 × 25 in.
Courtesy of the artist

Karen Asher Crying Baby, 2014 C-Print 25 x 25 in. Courtesy of the artist. (A photograph of a sparse room in which a man is lying in bed wearing an oxygen mask. Sitting on his chest is a diapered, crying baby.)

Karen Asher
Crying Baby, 2014
C-Print
25 × 25 in.
Courtesy of the artist.

Erica Eyres Ursula, 2019 Pencil on paper 78 x 67 cm. Courtesy of the artist. (A drawing depicting a woman sitting on the edge of a couch with breasts exposed, lower half clad in lingerie, and wearing evening gloves. She's looking at something out of the frame with a bored expression on her face.)

Erica Eyres
Ursula, 2019
Pencil on paper
78 × 67 cm.
Courtesy of the artist.

Erica Eyres Lucy, 2019 Pencil on paper 83 x 62 cm. Courtesy of the artist. (A drawing depicting a woman sitting in a chair in a room applying lipstick, looking at a small mirror.)

Erica Eyres
Lucy, 2019
Pencil on paper
83 × 62 cm.
Courtesy of the artist.

Erica Eyres Untitled, 2019 Courtesy of the artist. (A drawing depicting a woman wearing a bodysuit, fishnet stockings, high heels and glasses. She's looking at the viewer, sitting on a table with her legs crossed while bending a riding crop over her knee.)

Erica Eyres
Untitled, 2019
Courtesy of the artist.

Kathleen Herlihy-Paoli Mind the Edge, 2020 Oil on canvas with shade pull 20 x 20 in. Courtesy of the artist. (A painting depicting a glass of red wine with a bee perched on its rim against a backdrop of cloudy blue skies. The scene takes place on a stage surrounded by theatre drapes of green and yellow. At the bottom of the painting we see the first row of theater seats.)

Kathleen Herlihy-Paoli
Mind the Edge, 2020
Oil on canvas with shade pull
20 × 20 in.
Courtesy of the artist.

Kathleen Herlihy-Paoli The Pen and The Wall, 2019 Oil on canvas 20 x 20 in. Courtesy of the artist. (A painting depicting a pen and quill on center stage in spotlight against a brick wall backdrop. The theatre drapes to the side are a warm yellow, and there are heavily contrasted clouds on top of the stage, behind and in front of the theatre drapes. The first row of seats are visible.)

Kathleen Herlihy-Paoli
The Pen and The Wall, 2019
Oil on canvas
20 × 20 in.
Courtesy of the artist.

Kathleen Herlihy-Paoli For an Old Soul, 2018 Oil on canvas with beads 20 x 20 in. Courtesy of the artist. (A painting depicting a seascape with a loaf of bread on a plate awkwardly superimposed over the water. The cloudy blue sky appears to also be theater drapes with a red and yellow border. Resting on a cloud in the sky with is a clear cup with decorative star etchings filled halfway with a clear liquid.)

Kathleen Herlihy-Paoli
For an Old Soul, 2018
Oil on canvas with beads
20 × 20 in.
Courtesy of the artist.

Aaron Krach Indestructible Artifact # 30: Play, 2019 Screen print on frisbee 7 x 7 in., Edition of 100 Courtesy of the artist. (Hands holding a frisbee with the phrase “Act like you’re 5 years old” printed on it.)

Aaron Krach
Indestructible Artifact # 30: Play, 2019
Screen print on frisbee
7 × 7 in., Edition of 100
Courtesy of the artist.

Aaron Krach Calendar, 2019 Screenprint on vinyl sticker, 13 page-calendar 3 x 4 in. Courtesy of the artist. (A monthly calendar page for January 2019. Above the calendar is a cartoon sketch of a tire with the phrase “Imagining how you feel.” written to the right of it.)

Aaron Krach
Calendar, 2019
Screenprint on vinyl sticker, 13 page-calendar
3 × 4 in.
Courtesy of the artist.

Aaron Krach Pair Panda Bear Heads 17 x 35 x 17 in., Unique Courtesy of the artist. (A pair of plush panda bear heads hung on the wall next to each other.)

Aaron Krach
Pair
Panda Bear Heads
17 × 35 × 17 in., Unique
Courtesy of the artist.

Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph of the artist taken from above. She has her legs in the air with her knees next to her head on a bed with her eyes closed wearing an uncertain expression. She is seemingly naked but the photograph is cropped so that anything beneath her shoulders or thighs is not revealed.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist.

Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph of two people, both cropped and heavily obscured by a dark shadow. The figure in the background is crouching and the figure in the foreground is standing and barely enters the frame. They are holding hands.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist.

Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph depicting a camera with a microphone on a tripod set up in a domestic setting. The camera faces the viewer and it appears is positioned towards a bed.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist.

Scott Northrup The Prettier Sister Blues, 2017 Polaroids, found objects, tape, text projection 30 x 54 x 6 in. Courtesy of the artist. (An assemblage of found objects arranged on a shelf, including a rabbit figurine, a drawn portrait of two women with clothing and hairstyles from the 1960s, and a black a white photograph. Two polaroids of clouds, some blue shirts and a letter hang from the shelf.)

Scott Northrup
The Prettier Sister Blues, 2017
Polaroids, found objects, tape, text projection
30 × 54 × 6 in.
Courtesy of the artist

Scott Northrup Zines, 2015-2019 Collage, poetry, prose, photocopies/prints Dimensions vary Courtesy of the artist. (Photograph depicting an array of archival queer and gay zines.)

Scott Northrup
Zines, 2015-2019
Collage, poetry, prose, photocopies/prints
Dimensions vary
Courtesy of the artist.

Scott Northrup Perfect Pervert, 2018 Polaroids, found objects, latex rubber, tape 40 x 36 x 4 in. Courtesy of the artist. (A black wall mounted shelving unit with objects arranged on it, including polaroids of someone's eyes and the words 'perfect' and 'pervert', trophies, and a pair of binoculars.)

Scott Northrup
Perfect Pervert, 2018
Polaroids, found objects, latex rubber, tape
40 × 36 × 4 in.
Courtesy of the artist.

Participating Artists

Karen Asher
Erica Eyres
Kathleen Herlihy-Paoli
Aaron Krach
Erin Leland
Scott Northrup

Exhibition Description

I remember when I first learned about the idea of private behaviors.  I was youngish and the realization that not everyone acts the same or performs the same at home rituals became a fascination for me.  It continues to this day.  How do other people pluck their eye brows?  Do they sing to themselves?  How do they lay on the couch and flip through program options?  What do they do with their time when they’re not required to be anywhere?  Generally I categorize private behaviors as anything you would be uncomfortable doing while someone else is watching.  But being in the art world you understand that this boundary can be pushed and flipped.  Artists are often the great provocateur, pushing what is hidden to the forefront through music, literature and visual arts.

During the pandemic, spending more time at home has become the usual for the majority of the world.  I envision people creating new private behaviors and rituals and becoming both protective and exhausted of these moments that are their own.  The artists grouped here create works connected to the personal and private.  They evoke a certain uncomfortableness through their images and sculpture as the viewer is confronted with shared intimacy and an invitation into private moments.

Karen Asher’s photographs reference a long lineage of voyeuristic photographers looking at the lives of the everyday man, but Asher pushes her images to highlight the surreal oddities of everyday life.  A couple embrace, as if to become one, on a dining table; a pair of arms reach into the shot to aid in dyeing a woman’s hair blue; a screaming child sits a top a sleeping man hooked up to a CPAP machine.  Asher brings us in the the subject’s homes and reveals what happens behind closed doors.  The very nature of photography provokes us to ask what is authentic, but the movement and action in Asher’s images makes us feel as we’ve peeked into a fleeting moment.

Erica Eyres appropriates imagery from 1970s and 1980s text books and manuals in her drawings.  The voyeuristic results are uncomfortable and feel like the viewer is intruding.  When the subjects are looking at the viewer, it feels like we have interrupted them mid-action, when they are looking away, it feels like we are spying on their private moments from applying lipstick to taking part in a sexual escapade.

Kathleen Herlihy-Paoli  Personal events shape the direction of the series of theater paintings by Kathleen Herlihy-Paoli, as she uses the framework of the stage as a mechanism that holds up a mirror to our behaviors and lets us analyze them more clearly.  A glass of wine takes center stage, a baguette floats in the sea under stage curtains and a feather and quill loom prominently in front of a spotlight and brick stage wall.  Objects stand in for actions—drinking, eating, writing—and give a moment of reflection for our relationship to these behaviors, our consumption, and our output.

Aaron Krach finds, rearranges and combines objects that fill the world and our lives.  Using these objects as materials for his art, he isolates objects, remixes and reframes them and forces us to re-examine the everyday and banal.  A possibly found frisbee that encourages “Act like you’re 5 years old”  and a give-away calendar that states “Imagining how you feel” become existential questions for the viewer.  Two well worn stuffed panda heads mounted to the wall seem like they have been sadly separated from their owner emote a sadness of this loneliness stuck in time.  Objects that normally live in ones home are put on display and in the context of exhibition force us to re-evaluate our relationships with our possessions.

Erin Leland uses her own face and body and diaristic writings in her work.  As the subject of portraits in the space of her home, Leland documents what she refers to as a backstage—the daily grooming germane to the creation of a public appearance.  Other images appear to catch the artist in sexual situations that aren’t completely clear. The angle and intimacy of the photographs make the viewer feel as if they are in the room quietly observing as Leland performs her private behaviors, but tight cropping of the photographs prevents us from fully entering the artists world.

Scott Northrup is interested in the feelings that we secretly harbor for one another — love, lust, loss, desire. In his assemblage shrines we are given glimpses into personas, feelings and conflicts.  A work titled “The Prettier Sister Blues” puts out in public a sentiment that is usually only shared in whispers and “Perfect Pervert” beckons the viewer to come closer and examine each object, themselves becoming the voyeur.  Northrup also writes what he classifiers as “queer smut and sad boy poems” because “they feel honest, even when they’re not”.  Putting these words in the world makes public what the reader takes as private thought, even if it’s inauthentic.

Lauren Marinaro is the owner and director of Marinaro, a contemporary art gallery in Chinatown in Manhattan.

For more information visit https://www.marinaro.biz/

This exhibition is the thirteenth in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.

Participating Artists Include:

Karen Asher
Erica Eyres
Kathleen Herlihy-Paoli
Aaron Krach
Erin Leland
Scott Northrup

For more information: registry.whitecolumns.org

Karen Asher Wallpaper, 2016 C-Print 25 x 25 in. Courtesy of the artist. (A photograph depicting two intertwined figures dressed in black clothes, their faces hidden. They sit on a wooden table against a backdrop of pink and blue floral wallpaper.)
Karen Asher Dye Job, 2015 C-Print 25 x 25 in. Courtesy of the artist. (A photograph depicting a pair of hands dying a woman's hair in the bathtub.)
Karen Asher Crying Baby, 2014 C-Print 25 x 25 in. Courtesy of the artist. (A photograph of a sparse room in which a man is lying in bed wearing an oxygen mask. Sitting on his chest is a diapered, crying baby.)
Erica Eyres Ursula, 2019 Pencil on paper 78 x 67 cm. Courtesy of the artist. (A drawing depicting a woman sitting on the edge of a couch with breasts exposed, lower half clad in lingerie, and wearing evening gloves. She's looking at something out of the frame with a bored expression on her face.)
Erica Eyres Lucy, 2019 Pencil on paper 83 x 62 cm. Courtesy of the artist. (A drawing depicting a woman sitting in a chair in a room applying lipstick, looking at a small mirror.)
Erica Eyres Untitled, 2019 Courtesy of the artist. (A drawing depicting a woman wearing a bodysuit, fishnet stockings, high heels and glasses. She's looking at the viewer, sitting on a table with her legs crossed while bending a riding crop over her knee.)
Kathleen Herlihy-Paoli Mind the Edge, 2020 Oil on canvas with shade pull 20 x 20 in. Courtesy of the artist. (A painting depicting a glass of red wine with a bee perched on its rim against a backdrop of cloudy blue skies. The scene takes place on a stage surrounded by theatre drapes of green and yellow. At the bottom of the painting we see the first row of theater seats.)
Kathleen Herlihy-Paoli The Pen and The Wall, 2019 Oil on canvas 20 x 20 in. Courtesy of the artist. (A painting depicting a pen and quill on center stage in spotlight against a brick wall backdrop. The theatre drapes to the side are a warm yellow, and there are heavily contrasted clouds on top of the stage, behind and in front of the theatre drapes. The first row of seats are visible.)
Kathleen Herlihy-Paoli For an Old Soul, 2018 Oil on canvas with beads 20 x 20 in. Courtesy of the artist. (A painting depicting a seascape with a loaf of bread on a plate awkwardly superimposed over the water. The cloudy blue sky appears to also be theater drapes with a red and yellow border. Resting on a cloud in the sky with is a clear cup with decorative star etchings filled halfway with a clear liquid.)
Aaron Krach Indestructible Artifact # 30: Play, 2019 Screen print on frisbee 7 x 7 in., Edition of 100 Courtesy of the artist. (Hands holding a frisbee with the phrase “Act like you’re 5 years old” printed on it.)
Aaron Krach Calendar, 2019 Screenprint on vinyl sticker, 13 page-calendar 3 x 4 in. Courtesy of the artist. (A monthly calendar page for January 2019. Above the calendar is a cartoon sketch of a tire with the phrase “Imagining how you feel.” written to the right of it.)
Aaron Krach Pair Panda Bear Heads 17 x 35 x 17 in., Unique Courtesy of the artist. (A pair of plush panda bear heads hung on the wall next to each other.)
Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph of the artist taken from above. She has her legs in the air with her knees next to her head on a bed with her eyes closed wearing an uncertain expression. She is seemingly naked but the photograph is cropped so that anything beneath her shoulders or thighs is not revealed.)
Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph of two people, both cropped and heavily obscured by a dark shadow. The figure in the background is crouching and the figure in the foreground is standing and barely enters the frame. They are holding hands.)
Erin Leland Book of Correspondences, 2007 - Ongoing Archive of digital files, pigment prints, autobiographical writings and letters Courtesy of the artist. (A photograph depicting a camera with a microphone on a tripod set up in a domestic setting. The camera faces the viewer and it appears is positioned towards a bed.)
Scott Northrup The Prettier Sister Blues, 2017 Polaroids, found objects, tape, text projection 30 x 54 x 6 in. Courtesy of the artist. (An assemblage of found objects arranged on a shelf, including a rabbit figurine, a drawn portrait of two women with clothing and hairstyles from the 1960s, and a black a white photograph. Two polaroids of clouds, some blue shirts and a letter hang from the shelf.)
Scott Northrup Zines, 2015-2019 Collage, poetry, prose, photocopies/prints Dimensions vary Courtesy of the artist. (Photograph depicting an array of archival queer and gay zines.)
Scott Northrup Perfect Pervert, 2018 Polaroids, found objects, latex rubber, tape 40 x 36 x 4 in. Courtesy of the artist. (A black wall mounted shelving unit with objects arranged on it, including polaroids of someone's eyes and the words 'perfect' and 'pervert', trophies, and a pair of binoculars.)

Karen Asher
Wallpaper, 2016
C-Print
25 × 25 in.
Courtesy of the artist. (A photograph depicting two intertwined figures dressed in black clothes, their faces hidden. They sit on a wooden table against a backdrop of pink and blue floral wallpaper.)

Karen Asher
Dye Job, 2015
C-Print
25 × 25 in.
Courtesy of the artist. (A photograph depicting a pair of hands dying a woman’s hair in the bathtub.)

Karen Asher
Crying Baby, 2014
C-Print
25 × 25 in.
Courtesy of the artist. (A photograph of a sparse room in which a man is lying in bed wearing an oxygen mask. Sitting on his chest is a diapered, crying baby.)

Erica Eyres
Ursula, 2019
Pencil on paper
78 × 67 cm.
Courtesy of the artist. (A drawing depicting a woman sitting on the edge of a couch with breasts exposed, lower half clad in lingerie, and wearing evening gloves. She’s looking at something out of the frame with a bored expression on her face.)

Erica Eyres
Lucy, 2019
Pencil on paper
83 × 62 cm.
Courtesy of the artist. (A drawing depicting a woman sitting in a chair in a room applying lipstick, looking at a small mirror.)

Erica Eyres
Untitled, 2019
Courtesy of the artist. (A drawing depicting a woman wearing a bodysuit, fishnet stockings, high heels and glasses. She’s looking at the viewer, sitting on a table with her legs crossed while bending a riding crop over her knee.)

Kathleen Herlihy-Paoli
Mind the Edge, 2020
Oil on canvas with shade pull
20 × 20 in.
Courtesy of the artist. (A painting depicting a glass of red wine with a bee perched on its rim against a backdrop of cloudy blue skies. The scene takes place on a stage surrounded by theatre drapes of green and yellow. At the bottom of the painting we see the first row of theater seats.)

Kathleen Herlihy-Paoli
The Pen and The Wall, 2019
Oil on canvas
20 × 20 in.
Courtesy of the artist. (A painting depicting a pen and quill on center stage in spotlight against a brick wall backdrop. The theatre drapes to the side are a warm yellow, and there are heavily contrasted clouds on top of the stage, behind and in front of the theatre drapes. The first row of seats are visible.)

Kathleen Herlihy-Paoli
For an Old Soul, 2018
Oil on canvas with beads
20 × 20 in.
Courtesy of the artist. (A painting depicting a seascape with a loaf of bread on a plate awkwardly superimposed over the water. The cloudy blue sky appears to also be theater drapes with a red and yellow border. Resting on a cloud in the sky with is a clear cup with decorative star etchings filled halfway with a clear liquid.)

Aaron Krach
Indestructible Artifact # 30: Play, 2019
Screen print on frisbee
7 × 7 in., Edition of 100
Courtesy of the artist. (Hands holding a frisbee with the phrase “Act like you’re 5 years old” printed on it.)

Aaron Krach
Calendar, 2019
Screenprint on vinyl sticker, 13 page-calendar
3 × 4 in.
Courtesy of the artist. (A monthly calendar page for January 2019. Above the calendar is a cartoon sketch of a tire with the phrase “Imagining how you feel.” written to the right of it.)

Aaron Krach
Pair
Panda Bear Heads
17 × 35 × 17 in., Unique
Courtesy of the artist. (A pair of plush panda bear heads hung on the wall next to each other.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist. (A photograph of the artist taken from above. She has her legs in the air with her knees next to her head on a bed with her eyes closed wearing an uncertain expression. She is seemingly naked but the photograph is cropped so that anything beneath her shoulders or thighs is not revealed.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist. (A photograph of two people, both cropped and heavily obscured by a dark shadow. The figure in the background is crouching and the figure in the foreground is standing and barely enters the frame. They are holding hands.)

Erin Leland
Book of Correspondences, 2007 – Ongoing
Archive of digital files, pigment prints, autobiographical writings and letters
Courtesy of the artist. (A photograph depicting a camera with a microphone on a tripod set up in a domestic setting. The camera faces the viewer and it appears is positioned towards a bed.)

Scott Northrup
The Prettier Sister Blues, 2017
Polaroids, found objects, tape, text projection
30 × 54 × 6 in.
Courtesy of the artist. (An assemblage of found objects arranged on a shelf, including a rabbit figurine, a drawn portrait of two women with clothing and hairstyles from the 1960s, and a black a white photograph. Two polaroids of clouds, some blue shirts and a letter hang from the shelf.)

Scott Northrup
Zines, 2015-2019
Collage, poetry, prose, photocopies/prints
Dimensions vary
Courtesy of the artist. (Photograph depicting an array of archival queer and gay zines.)

Scott Northrup
Perfect Pervert, 2018
Polaroids, found objects, latex rubber, tape
40 × 36 × 4 in.
Courtesy of the artist. (A black wall mounted shelving unit with objects arranged on it, including polaroids of someone’s eyes and the words ‘perfect’ and ‘pervert’, trophies, and a pair of binoculars.)