Fantasy Landscape (diminished yellow ochre)

Work ID: 69140

Description: Source: veduta ideat con rovine romane in riva al mara, Canaletto, 1722

Measurements: 76.2 x 106.68 cm

Collection:

Date Made: 2003

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscape (chromeoxide green/ultra blue)

Work ID: 69160

Description: Source: veduta ideat con rovine romane in riva al mara, Canaletto, 1722.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2003

Materials: oil on linen

Virtual Collection: Original CCCA

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Gilles (Red), Installation view

Work ID: 69107

Description: Installation: Faux-mouvement, Metx, France, 2003.

Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.

In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.

In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.

This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.

With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.

Collection:

Date Made: 2003

Materials:

Virtual Collection: Original CCCA

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Gilles (Blue), Installation view

Work ID: 69110

Description: Installation: Owens Art Gallery, Sackville New Brunswick [with Gary Neil Kennedy].

Gilles, 1994 – 2003
When I started this project I was teaching a painting seminar about the Death of Painting.

In 1994 I went to France and saw sixteen versions of Claude Monet's "Rouen Cathedral" at the Musée des Beaux Arts in Rouen, a series he did in 1892 – 93, a hundred years earlier. I also encountered my first Yves Klein blue monochrome painting at the Centre Pompidou, which had been painted in 1960. On a previous trip to Paris I had fallen in love with Jean-Antoine Watteau's " Gilles" at the Louvre, finished in 1720, which may have served as a shop sign for a café.

In my research on Yves Klein, I was taken up by his persona of the Dandy; he'd moved the legacy of Beau Brummel to the 20th Century. I was quite envious of the younger male painters in my milieu who seemed able to take up abstract painting without a qualm. Dandies themselves, they smartly took up a critique of the monochrome, weaving in references to pop culture, while making attractive, decorative work. They got to have their cake and eat it too. I¿d trained as a formalist fifteen years earlier, but in the heady 80's had eschewed a conservative practice that didn't take up the political. Ever the whiney feminist, somehow I'd missed the boat.

This series was an attempt to reconcile all that. The seriality of Monet's project connected to the seriality of Yves Klein's. Yves Klein's performative figure seemed to connect to Gilles, the consumptive clown/artist. Both died young. Although known for his blue paintings, Yves Klein dealt with all the primaries. His paintings were a reiteration of Rodchenko's red yellow and blue monochromes, which in 1921 declared the death of painting. The first time this sentiment may have been uttered was in 1839, when the French painter Paul Delaroche was asked to prepare a committee report on the invention of the Daguerreotype to the French government.

With this work I hoped to make more complex what seemed to me a certain feminist polemic in my earlier work.

Collection:

Date Made: 2003

Materials:

Virtual Collection: Original CCCA

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Sliding Landscapes, exhibition installation

Work ID: 69163

Description: Installation, Strand on Volta Gallery, Washington DC, 2004.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Collection:

Date Made: 2004

Materials:

Virtual Collection: Original CCCA

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Fantasy Landscape (burnt sienna, orange)

Work ID: 69145

Description: Source: Stormy Landscape Marco Ricci, 1730, National Gallery of Art, Washington, DC

Measurements: 91.44 x 137.16 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Fantasy Landscape (dim ultra blue medium)

Work ID: 69147

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York

Measurements: 91.44 x 172.72 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Fantasy Landscape

Work ID: 69144

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York

Measurements: 76.2 x 228.6 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Fantasy Landscape (diminished violet/burnt sienna orange)

Work ID: 69146

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Fantasy Landscape (pthalo green/chromeoxide green)

Work ID: 69141

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York

Measurements: 76.2 x 121.92 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Last Landscape (study, left side)(sap green/blue grey)

Work ID: 69148

Description: Source: Capriccio: Classical Ruins, Canaletto, 1735, The Royal Collection, London, England

Measurements: 60.96 x 76.2 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Ruminative Woman (Orange)

Work ID: 69166

Description: Source: Portrait of a Young Woman with a Fan, Rembrandt van Rijn, 1633

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscape (grey brown)

Work ID: 69159

Description: Source: Capriccio, Francesco Guardi, 1760's.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscape (blue grey)

Work ID: 69152

Description: Source: Extensive Pastoral Landscape, Marco Ricci, 1730.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscape (chromeoxide green/violet)

Work ID: 69154

Description: Source: Stormy Landscape, Marco Ricci, 1730, National Gallery of Art, Washington, DC.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Last Landscape (study, right side)blue grey/violet grey)

Work ID: 69149

Description: Source: Capriccio with Ruins of Pointed Arch, Canaletto, 1735, The Royal Collection, London, England

Measurements: 60.96 x 76.2 cm

Collection:

Date Made: 2004

Materials: oil on linen

Virtual Collection: Original CCCA

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Last Landscape

Work ID: 69150

Description: Source: Capriccio: Classical Ruins, 1735 and Capriccio with Ruins of Pointed Arch, Canaletto, 1735, The Royal Collection, London, England

Measurements: 91.44 x 228.6 cm

Collection:

Date Made: 2005

Materials: oil on linen

Virtual Collection: Original CCCA

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Skeptical Man (Sap Green)

Work ID: 69167

Description: Source: Portrait of Jacques Le Roy, Anthony Van Dyck, 1631

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2005

Materials: oil on linen

Virtual Collection: Original CCCA

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Convivial Man (Purple/Red)

Work ID: 69165

Description: Source: The Feast of Bacchus, Diego Velazquez, 1629

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2005

Materials: oil on linen

Virtual Collection: Original CCCA

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Smug Woman (Orange)

Work ID: 69169

Description: Source: Portrait of a Young Woman with Rosary, Peter Paul Rubens, 1609

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2005

Materials: oil on linen

Virtual Collection: Original CCCA

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Bemused Man (Cadmium Green)

Work ID: 69164

Description: Source: Portrait of a Man, Rembrandt van Rijn, 1632

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2005

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscapes, studio installation

Work ID: 69161

Description: Studio Installation, 2006.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Collection:

Date Made: 2006

Materials:

Virtual Collection: Original CCCA

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Sliding Landscape (diminished orange)

Work ID: 69156

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Apprehensive Woman (Ultramarine Blue)

Work ID: 69168

Description: Source: Hendrickje Stoffels, Rembrandt van Rijn, 1650's

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscape (yellow ochre)

Work ID: 69158

Description: Source: Stormy Landscape, Marco Ricci, 1730, National Gallery of Art, Washington, DC.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding Landscapes, studio installation

Work ID: 69162

Description: Studio Installation, 2006.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Collection:

Date Made: 2006

Materials:

Virtual Collection: Original CCCA

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Sliding Landscape (quinachrodone red/cadmium red)

Work ID: 69157

Description: Source: Capriccio, Francesco Guardi, 1760's, Metropolitan Museum of Art, New York.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Studio Installation

Work ID: 69172

Description: Studio Shot, Randall School, Washington DC

Collection:

Date Made: 2006

Materials:

Virtual Collection: Original CCCA

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Weary Man (Red)

Work ID: 69171

Description: Source: Portrait of Jacque Le Roy, Anthony Van Dyck, 1631

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Resigned Woman (Turquoise Green)

Work ID: 69170

Description: Source: Portrait of a Woman, Rembrandt van Rijn, 1630

Measurements: 55.88 x 45.72 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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Sliding landscape (cadmium green)

Work ID: 69155

Description: Source: Cappricio Notturno, Canaletto, 1722 Collection: Alessandro Morandotti, Rome.

Sliding Landscapes 2003 - 2006
This project sampled the genre of the Italian Capriccio (invented landscape). These historical sources are cropped into elliptical canvases, and then tipped, as an attempt to show how strong the viewer's need is to orient to horizontals, or verticals, even in so called nature.

The eight paintings are installed at varying angles and heights, animating the whole of the wall. As monochromes they evoke the Ellsworth Kelly installation at the National Gallery in Washington, DC, "Color Panels for a Large Wall" (c.1978). However, their diagonal composition denies the flatness of that modernist grid. The landscapes themselves recall motifs found in wallpaper or brocade, suggesting that the solemnity of the monochrome might be the decorative in disguise.

Measurements: 66.04 x 101.6 cm

Collection:

Date Made: 2006

Materials: oil on linen

Virtual Collection: Original CCCA

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The Last Pony #6 (turquoise green)

Work ID: 69181

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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The Last Pony #3 (copper)

Work ID: 69178

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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Gabriel Kuri Fragment (Quick Standards, 2006), New Museum, New York

Work ID: 69205

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony #5 (green)

Work ID: 69180

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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The Last Pony #7 (turquoise blue)

Work ID: 69182

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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Storage, Corcoran College of Art and Design (David Williams)

Work ID: 69188

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Morris Louis Fragment (Seal, 1959), Hirshhorn Museum, Washington DC

Work ID: 69184

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Storage, Millennium Art Center (Dan Steinhilber), Washington, DC

Work ID: 69200

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Hurricane Fencing, Chelsea Meat Packing District, New York

Work ID: 69207

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Parking Lot, Chelsea Meat Packing District, New York

Work ID: 69209

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Mathew Barney Fragment, Guggenheim Museum, Venice, Italy

Work ID: 69198

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Air Duct, Crystal Palace at Documenta, Kassel, Germany

Work ID: 69195

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Storage, Millennium Art Center, Washington DC

Work ID: 69202

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Exit, St. Marco Cathedral, Venice, Italy

Work ID: 69193

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Q St. Construction, Washington DC

Work ID: 69187

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Q St. Construction, Washington DC

Work ID: 69199

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony #2 (rose pink)

Work ID: 69177

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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The Last Pony #4 (yellow green)

Work ID: 69179

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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Gedi Sibony fragment, New Museum, New York

Work ID: 69208

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Isa Genzken Fragment, New Museum, New York

Work ID: 69190

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Backroom storage, Peter Blum Gallery, New York (John Beech fragment)

Work ID: 69186

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Storage, Millennium Art Center (Dan Steinhilber fragments)

Work ID: 69185

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony #1 (purple)

Work ID: 69176

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 137.16 x 111.76 cm

Collection:

Date Made: 2007

Materials: digital print

Virtual Collection: Original CCCA

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The Last Pony, exhibition installation

Work ID: 69175

Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony, exhibition installation

Work ID: 69173

Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Women’s Restroom, Hirshhorn Museum, Washington DC

Work ID: 69194

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Empty Lot, Chelsea Meat Packing District, New York

Work ID: 69206

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Storage, Millennium Art Center (Dan Steinhilber), Washington, DC

Work ID: 69201

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Morris Louis Fragment, Hirshhorn Museum, Washington DC

Work ID: 69191

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony, exhibition installation

Work ID: 69174

Description: The Last Pony, Installation, Meat Market Gallery, Washington, DC, 2007.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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The Last Pony, studio installation

Work ID: 69183

Description: Source: Whistlejacket, George Stubbs, 1762, and Philip IV on Horseback, Diego Velasquez, 1634.

Last Pony 2006 – 2007
An overriding preoccupation in my work has been a growing doubt that painting can have contemporary relevance. Although it might be important to deconstruct and understand the art of the past from a contemporary perspective, my practice was striking me as increasingly academic. The current boom in the art market, and painting¿s resurgence in popularity (very similar to that of the early 1980s) only confirms that painting still feeds a populist notion of expressivity and individualism bound up in the authentic, unique object. So much for deconstructionist tactics.

With my painting practice seeming in jeopardy, I undertook to paint one more large project, with the conscious idea that it would be my last. ¿Last Pony¿, based on "Whistlejacket" by George Stubbs (c. 1762), is a reprise of earlier work of mine that dealt with the equestrian portrait and an analysis of the hero. Stubbs, at the request of his original patron, had left the background blank. Into that void I inserted the landscape from an earlier equestrian painting by Velasquez, his "Phillip IV on Horseback" (c. 1634). The Spanish monarch¿s reign had striking similarities to the second Bush administration. Riderless, the horse is about to plunge into the unknown landscape. The figure represents either the epitome of autonomous freedom or a fearful flight. While this project was in process, and despite the shattering of my belief systems as an artist, it became a point of pride that the painting be technically accomplished. The achievement of that goal would be a therapeutic act, as anachronistic as I was beginning to feel an allegorical painting might be.

For the completion of my "Last Pony" project, I started working with a photograph of the painting just as it was being finished in the studio, standing on paint buckets on the floor. Examining that image in a digital program, I could see the wide array of colour schemes I could have used for the original painting. The computer, that is, provided options — "colourways" to use a term from commercial textile production — that were almost unavailable in a traditional studio.

A previous painting project, "Sliding Landscapes", had tried to address some of these same issues. It investigated painting as décor, purposefully taking a small range of historical images (18th-century Italian landscapes), reworking them in several modernist colour schemes and then hanging the works as a pattern on the wall, like an Ellsworth Kelly installation. With "Last Pony", I might once have considered doggedly realizing similar colouristic options as a series of painted variations (see Gilles project). Now, however, with the image conceived as a manipulable photograph of an object in context, I am relieved of that fetishistic studio imperative.

Measurements: 304.8 x 243.84 cm

Collection:

Date Made: 2007

Materials: oil on linen

Virtual Collection: Original CCCA

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Storage, Corcoran College of Art and Design (David Williams)

Work ID: 69189

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Schrebergarten, Site of Jeremy Deller Project, Munster, Germany

Work ID: 69204

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Felix Gonzales Torres Fragment, American Pavilion, Venice, Italy

Work ID: 69203

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Mathew Barney Fragment, Guggenheim Museum, Venice, Italy

Work ID: 69196

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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17th St. Construction, Washington, DC

Work ID: 69192

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Q St. Construction, Washington DC

Work ID: 69197

Collection:

Date Made: 2007

Materials:

Virtual Collection: Original CCCA

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Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]

Work ID: 74072

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]

Work ID: 74084

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]

Work ID: 74076

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]

Work ID: 74098

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island

Work ID: 74105

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]

Work ID: 74059

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]

Work ID: 74115

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment

Work ID: 74110

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]

Work ID: 74061

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student), [detail]

Work ID: 74114

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]

Work ID: 74083

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]

Work ID: 74081

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]

Work ID: 74100

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]

Work ID: 74106

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment

Work ID: 74090

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]

Work ID: 74060

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]

Work ID: 74108

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment

Work ID: 74099

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]

Work ID: 74088

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment

Work ID: 74086

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment, [detail]

Work ID: 74085

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Chelsea Gallery District, Carpark/ Whitney Biennia 2008, Rita Ackerman Fragment, [detail]

Work ID: 74101

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment

Work ID: 74102

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Empty Lot, Chelsea Gallery District/ New Museum Inaugural Exhibition, Gedi Sibony Fragment/Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]

Work ID: 74107

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Chelsea Gallery District, ParkingLot/ Site Santa Fe, Nick Mangan Fragment

Work ID: 74082

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment

Work ID: 74109

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Barbara Gladstone Gallery, Thomas Hirschhorn Fragment/ Corcoran Studio (Andy Brown, Student)

Work ID: 74113

Description: Detritus 2007 - current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process á in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges á the urges that shape our entire material culture á as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

Iád like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the antiáobject, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]

Work ID: 74069

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC

Work ID: 74063

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]

Work ID: 74064

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]

Work ID: 74066

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]

Work ID: 74068

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student)

Work ID: 74071

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment

Work ID: 74075

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]

Work ID: 74056

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment

Work ID: 74094

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]

Work ID: 74074

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Construction, 10th St. Washington DC/ Jack Shainman Gallery, Nick Cave Fragment/ Corcoran Studio (Nicholas Donnelly, Student), [detail]

Work ID: 74073

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]

Work ID: 74096

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student)

Work ID: 74054

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Washington DC, K St. Demolition/American Pavilion, Venice Biennale (2007), Felix GonzalesTorres Fragment/ Corcoran Studio (David Williams, student), [detail]

Work ID: 74055

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]

Work ID: 74093

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]

Work ID: 74112

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Marc André Robinson Fragment/ Czech Slovak Pavilion,Venice Biennale (2009) Roman Ondak Fragment/ Philadelphia Museum of Art, Matisse Fragment, [detail]

Work ID: 74111

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment

Work ID: 74058

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]

Work ID: 74091

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]

Work ID: 74104

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]

Work ID: 74087

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Romanian Pavilion, Venice Biennale (2009)/ Corcoran Studio (Ivica Volanska, Student)/ Scottish Pavilion, Venice Biennale (2009) Martin Boyce Fragment, [detail]

Work ID: 74092

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Corcoran Studio (Bethany Hansen, Student)/ Artist’s Studio, Joseph and John Dumbacher Fragment, [detail]

Work ID: 74103

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC

Work ID: 74067

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Corcoran Studio (Mia Montazolli, Student)/ New Museum Inaugural Exhibition, Isa Genzken Fragment/ 17th St. Construction, Washington DC, [detail]

Work ID: 74070

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: Venice Biennale (2009)> Danish Pavilion, Wolfgang Tilmans Fragment/Biennale Storage Still Life (Arsenale)/Czech and Slovak Pavilion, Roman Ondak Fragment, [detail]

Work ID: 74097

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]

Work ID: 74078

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island, [detail]

Work ID: 74080

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Triptych: New Museum Inaugural Exhibition, Gabriel Kuri Fragment/ Crystal Palace, Documenta (2007)/Hirshhorn Museum, Morris Louis Fragment, [detail]

Work ID: 74077

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List

Diptych: Whitney Biennial 2008, New Humans Fragment/ Confederation Court Mall, Charlottetown, Prince Edward Island

Work ID: 74079

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 132.08 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Sculpture Projects in Munster (2007), Jeremy Deller Fragment/ Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ K St. Detritus, Washington DC, [detail]

Work ID: 74065

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Peggy Guggenheim Collection, Venice, Matthew Barney Fragment/ Hirshhorn Museum, MorrisLouis Fragment/ Peter Blum Gallery, John Beech Fragment, [detail]

Work ID: 74062

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

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Triptych: Venice Biennale 2009> Scottish Pavilion, Martin Boyce Fragment/ Certosa Island, Site of John Gerrard Installation/American Pavilion, Bruce Nauman Fragment, [detail]

Work ID: 74089

Description: Detritus 2007 – current

For the past two years I have been developing a photographic portfolio which examines the contexts I find myself in as an artist: the studio, the art school, the museum, the international biennial. I am interested in all the situations in which art is found, both in its production phase and as a finished object.

I am also keen to draw out correlations between those conditions of artistic production and consumption and the chaos of everyday life in process — in the street, on a construction site or in the domestic realm. Humans are hard-wired to manipulate materiality: We are devoted to constructing, acquiring, rearranging, deconstructing, recycling and disposing of stuff. Art is as much a byproduct of such urges — the urges that shape our entire material culture — as it is an elevated, freestanding activity. Photography now strikes me as the most direct way to talk about these relationships.

I¿d like to think of my new work as documenting the art world at a time when it is has reached a peak in its production of sheer materiality, with its crowded art schools and overflowing biennials, art fairs and hedge-fund collections.

The bearish art market of the 1980s, so critiqued in the art theory of the 90s, has returned, more post-ideological, ahistorical and polyglot than ever. Despite the legacy of conceptualism, institutional critique and the anti¿object, even the most radical gesture can now be co-opted, finding its way to a life as a material, archived, commodified object. It is difficult not to see the materialism and lack of direction in the art world as paralleling the crisis of what we call the "real" world, with its imperiled environment and world-wide energy shortages, and the frightening political ramifications of both.

Of all the structures of contemporary art, the least recognized and documented is the space of the art school studio, where much of contemporary art has its origins. The chaos in the studio reflects a desire for unstructured play that seems to operate as the flipside to what is seen as the regimentation of a non-artistic life. Yet it is only by structuring their "play" to suit the regimentations of the biennale, the gallery system and granting structures that students can hope to make their way. Student detritus reveals how quickly they absorb the zeitgeist of current art production.

In my photographs, I hope to explore the modes of consumption common to art and the everyday, as art makers and our art-trained eyes transform refuse into something it was not meant to be.

Measurements: 58.42 x 186.69 cm

Collection:

Date Made: 2009

Materials: inkjet digital print

Virtual Collection: Original CCCA

Add to List