“School of Chairs” at 500 Capp Street Foundation

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Generally faux pas to quote Deleuze and Guattari in art PR but done here sans quotational segmentation its easter-eggization kindly declines to brandish authority, a sort of refreshing removal of authorial heft, mirroring the experience of David Ireland and the 500 Capp Foundation itself in which the border between capital A Art from the much less authoritied world is fuzzed, like we removed parentheticals from the world, like if Art placed into the world simply became undifferentiated world, removed the differentiating potential of quotation mark's spell holding all the aura of all their respective authors and mediums with it. What if you mixed all Anicka Yi's sprayers with those of those of the hardware store. But instead the spell of an exhibitions checklist clearly delineating the objects in the room, those of art from those which, apparently, are not, and clearly establishing provenance, lineage. Which against like D&G's Rhizomes' whole point, don't follow roots, grow potatoes.


See too: Darren Bader at Sadie Coles, Michael E. Smith at 500 Capp Street Foundation

Michael E. Smith at 500 Capp Street Foundation

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A public's anxiety over the status of the artwork represented in the likes of online quizzes to differentiate children's from famous, a prank gone viral placing glasses on the floor of SFMoMA, or Pierre Brassau. We feel comfort with the artwork identified and labeled, packaged by the camera or work list, catalogue raisonnéd. We appreciate butterflies pinned spread behind glass.  Removed from the packaging artworks and butterflies disperse, cling everywhere, etherealize into suspicion for them. You can never be certain you've seen all the butterflies, their artwork is everywhere. The entire space becomes a distrust of what means and what is merely meaninglessly there. Never really be sure. In Marfa seeing - in the hordes of Judd's objects arranged on tables - a small box repeated amongst many different rooms and asked what this one object of Judd's was: It was a recorder for humidity and sunlight for archival purposes put there by staff, not Judd's at all. Was it meaninglessly there, or should we choose it to mean. For Ireland everything would seemingly be encompassed with open arms, comfort to know. For Smith, building this distrust likely the point. Anxiety artworks.


See too: Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry