“U:L:O: 2016 Part I” Exhibition

Interstate Projects

This event has ended.

U:L:O: is a curatorial invitational that invites 6 curators to present shows in one of our three spaces, Upper, Lower, and Outside. Each show runs for three weeks and is in two parts.

U:L:O: 2016 Part I includes:

U: Tim Gentles
L: Kimberly-Klark
O: Andrew Russeth

U:L:O: Part I 2016 | U: Tim Gentles

Back Seat Driver

Katherine Botten
Kathe Burkhart
Rafael Delacruz
Elizabeth Englander
Brandon Drew Holmes
Zac Segbedzi
Edward Shenk

In Catherine Grant’s 2011 essay “Fans of Feminism,” she writes of ‘the figure of the fan’ as one that disrupts the traditional position of both the artist and the art historian by acting according to attachment and desire, rather than irony and distance. That this is typically considered antithetical to how one is supposed to engage with art probably goes some way then to explaining the myriad ways in which artists throughout history have gleefully, and often only somewhat self-reflexively, embraced the position of the fan in their work.

U:L:O: Part I 2016 | L: Kimberly-Klark

03: Opening_to_the_Sighs

Kimberly-Klark is pleased to present 03: Opening_to_the_Sighs, featuring Sue de Beer, Susan Cianciolo, and Flannery Silva for the third iteration of U.L.O. at Interstate Projects. The lower level of the gallery mirrors the basement of the dance academy in Dario Argento’s film, Suspiria (1977)—a deeply hidden, private chamber housing the destructive and powerful energy of a coven. Acting as a ground for experimentation and deviance, Interstate Project’s subterranean floor is the ultimate container for these vessels—works that hold within them intensely personal, carnal, and psychic qualities, at moments verging towards the point of rupture.

U:L:O: Part I 2016 | O: Andrew Russeth

A Good Weekend

It is the hard drinking that always comes up when talking about the lives of artists—the beers tossed back at the Cedar Tavern in the 1950s, the martinis savored at the Odeon in the ‘80s. But artists have also had more modest indulgences, just like the rest of us—they have enjoyed sweets, candies, and pastries, and sometimes they have even baked them.

Robert Motherwell made a rich bittersweet chocolate mousse and a subtle whiskey cake. Romare Bearden used an old recipe from St. Martin to cook up rum cake. Georgia O’Keeffe claimed to have “the best applesauce tree around,” at her home in Abiquiú, New Mexico, and she and her personal chef used it to create not only applesauce but also apple pies and Norwegian apple cakes. “I don’t do much cooking,” Alice Neel said in 1977, when editors from the Museum of Modern Art working on a cookbook approached her. “I’m an artist; I have privileges, you see, that only men had in the past.” But, Neel added, “I make great hot-fudge sauce,” and submitted the recipe. Henri de Toulouse-Lautrec and his friend Maurice Joyant were consummate gourmets, collecting details on how to make everything from a potent rum punch to a mysterious snake-shaped cake called the Convent Serpent. The health-conscious John Cage liked cookies with ground almonds, oats, and wheat flour, sweetened with maple syrup (they are far tastier than one might expect), while Mary Cassatt had more decadent tastes, serving up chocolate caramels when hosting in Paris. The list goes on.