White Columns Onlineu00a0u200bu200bCurated by Christine Leung
The works in this selection both facilitate interpretation with familiar references and also resist meaning by mangling the context. The works remain slippery.
The references that felt recognizable become undone. The codes that meant one thing are now taken out of context, distorting or obliterating the meaning. There is an asymmetrical relationship between the reference and the image. These slight aberrations emphasize the non-real and point towards fantasy without actually living in it.
Pointing, a gesture of an art object, is similar to the way that language has a naming and identifying function. An art objectʼs pointing is an active, embodied meaning, intrinsic to its form. Art is coterminous with meaning, yet mutually exclusive from language. Because language has the imperative for communication to further intelligibility, the meaning that language derives from art can be limited in its desire for definition.
“We can either capitulate and start spinning narratives, or we can resist as long as possible, to try to see the shape of our desire for words.” (James Elkins, What Do We Want Pictures to be? Reply to Mieke Bal, 1996).
“All the best stuff happens on the edges…” (Stefan George, unknown, a note I hastily took in 2012).
Christina Leung is an artist and educator living and working in New York, and a former White Columns Curatorial Assistant.
This exhibition is the eighth in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.
Participating Artists Include:
Brian Edmund Cooper
Sally P Jerome
Michael E. Katz
Michelle Marie Marchesseault
For more information: registry.whitecolumns.org