EXIT ART OPENS THE 2000 SEASON WITH THE END, A MAJOR EXHIBITION OF EXIT ART’S 18-YEAR HISTORY, 1982-2000.
- Additional Information -
THE END Includes Documentation From Over 90 Exhibition and Performance Projects and a Selection of Over 100 Artists from its Exhibition History.
Curators Jeanette Ingberman and Papo Colo
Research by: Melissa Rachleff and Jodi Hanel
Press Preview: Wednesday, January 26, 11 a.m. to 1 p.m. (refreshments served)
Opening Reception: Saturday, January 29, 6-8 p.m.
Exit Art / The First World will begin the 2000 season with an important institutional history project entitled, The End: An Independent Vision of Contemporary Culture, 1982-2000.
Throughout its 18-year history, Exit Art focussed on issues and art that was often overlooked by the traditional art world because it challenged deeply held ideas about culture. Exit Art’s projects were important and vital to seeing American culture in its broadest perspective. Exit Art has played a significant role in introducing and sustaining a multicultural dialogue and inserting this dialogue into the mainstream culture. The artists Exit Art supported have posed new interpretations and new strategies for thinking about contemporary art and culture. Our passion is to illustrate the symptoms of cultures, the diversity of mediums and artists.
The End is an exhibition in two parts. The first part will feature documentation from Exit Art’s archives, including artist correspondence, project plans, photographs, video, slides and the unique invitation and poster designs that Exit Art created for each project. The second part features original art by a selection of artists that were a significant part of Exit Art’s history as well as a video and slide presentation of the artists in the performance projects. The End also marks a culmination for Exit Art. "In our continuous process of reinvention," stated Jeanette Ingberman, co-founder/director, "The End will mark the beginning of a new cycle of ideas at Exit Art, a new approach to experimentation."
The documentary section of the exhibition will be organized chronologically, using Exit Art’s exhibition history as a guide. Following this chronology will give the public a detailed history of Exit Art’s curatorial process and language. Central to each exhibition project was the installation design. Each installation was conceived as a metaphorical statement on the artist’s work, which added another level of meaning for the public in viewing the work exhibited. This broad-based and cross-disciplinary curatorial approach has long been the hallmark of Exit Art’s projects.
"We represent a new approach in presenting exhibitions and contemporary work," Papo Colo, co-founder/director of Exit Art summarized, "Our method is based on experimentation. We build prototypes of ideas. The curatorial method of our exhibition is creating with the artist as a protagonist a vocabulary for the public. Our function is to research the emotional ideas coming from our culture and transform them into coherent expressions in exhibitions. The End will form a different view of our experiences. The End is our story in retrospect. Our biography."
The End coincides with millennial and centennial fervor. In the pitch of summing up the century, there is a concern about histories that exist outside the boundaries of established institutions. Like many such cultural institutions around the country, Exit Art explores and represents the still unwritten histories of contemporary art. Contemporary art represents a history of diverse views, diverse intonations of the interpretations of culture. The End interprets and presents different opinions of culture. The End will function as an independent testament to the end of the century, seen among other centennial statements.
In conjunction with The End, Exit Art is hosting a series of public programs inspired by the film and performance programs presented over the past 18 years. More details on the public program series to follow in a separate release.
The End is made possible by a generous grant from Catharine and Jeffrey Soros and the National Endowment for the Arts. Additional support is provided by the Bohen Foundation, the Andy Warhol Foundation for Contemporary Art, the Dorsky Family Foundation, the Greenwall Foundation and the Jerome Foundation.
I. Exhibiting artists:
David Henry Brown Jr.
Shu Lea Cheang
Paul D. Miller / DJ Spooky
Lyle Ashton Harris
Tseng Kwong Chi
Young Sun Lim
Komar & Melamid
Anton Van Dalen
Ursula von Rydingsvard
Carrie Mae Weems
II. Slide and video documentation of performance exhibition projects at Exit Art
1994 LET THE ARTIST LIVE!
Skip Arnold, Rachel Feinstein, Regina Frank, Paula Hayes, Kate Howard, Rudy Royval, Mio Shirai, Javier Tellez, Michael Yue Tong, Ike Ude, Liz Young.
Marina Abramovic, Vito Acconci, Eleanor Antin, Skip Arnold, Judith Barry, Joseph Beuys, Chris Burden, Papo Colo, Arthur Cravan, Valie Export, Bob Flanagan, Sherman Fleming, Terry Fox, Geoffrey Hendricks, Gilbert and George, Tehching Hsieh, Bas Jan Ader, Kim Jones, Yves Klein, Tom Marioni, Paul McCarthy, Linda Montano, Bruce Nauman, Yoko Ono, Orlan, Dennis Oppenheim, Gina Pane, Pearl, Rachel Rosenthal, Jill Scott, Bonnie Sherk, Barbara Smith, Stelarc, Mierle Laderman Ukeles, Barry Le Va, T. R. Uthco
1997 TERRA BOMBA: A Performance View of Installation
David Henry Brown, Antonina Canal, Patty Chang, Anita Chao, Sue de Beer, Deborah Edmeades, Charley Friedman, Marisa Gallo, Gavin Grace, Eric Guzman, Marianna, Dominic McGill, Yasira Nun.
III. Chronology of Exhibitions and Projects 1982-1999
Illegal America Octopus Dirty Pictures
Tehching Hsieh: One-Year Performance
Fantastic Landscape Melissa Meyer
The Beauty Not the Beast:Robert Kippur/Gary
Miralda: Santa Comida / Holy Food
John Fekner: Idioblast
Broadway Boogie Woogie
Alan Scarritt & Norman Tuck
Ringside Gallery: Candida Alvarez
Richard Mock: Paintings 1975 - 1985
Not About Abstraction
Media Hostages Consensus:Today’s Art in an Overpopulated City
The Gallery Show
Exit in 3
Divisions, Crossroads, Turns of Mind: Some New Irish Art
The Disciplined Spirit
Transculture / Transmedia
Papo Colo: Will, Power and Desire
Immigrants & Refugees / Heroes or Villains
Michael Chernishov: Aggressive Symbols
Concrete Crisis: Urban Images of the 80’s
Arlan Huang: Paintings 1985 - 1987
Films with a Purpose: A Puerto Rican Experiment in Social Films
Bang on a Can Festival
Mastfor II: Good Treatment for Horses
Raul Ruiz: Works for and about French TV
The Social Club
Nachume Miller: Paintings 1984 - 88
Ursula von Rydingsvard
Videospain: Recent Video from Spain
International Forum of Super 8
Anton van Dalen: The Memory Cabinet
Hiroshi Kariya: Sutra
Juan Sanchez: Rican / Structed Convictions
Kryzysztof Wodiczko: New York City Tableaux: Tompkins Square
Jimmie Durham: The Bishop’s Moose & Pinkerton Men
The Green Show
Samuel Beckett: The Media Work
Cecilia Vicuña: Precarious
Internal Exile: New Films and Videos from Chile
Jacques Roch: Paintings & Works on Paper
Hachivi Edgar Heap of Birds: A Survey
Adrian Piper: Why Guess?
Film Modernism and its Discontents: A Perspective from Paris
David Wojnarowicz: Tongues of Flame
Ming Fay: Nature Reborn: From Archaeology to Science Fiction
Archie Rand: The Letter Paintings
Jaime Davidovich: Forces / Farces
Parallel History: The Hybrid State
The Hybrid State Films
John Fekner: Remnant Memory: Fragments, Fossils, Trophies, Plaques
Willie Birch: A Personal View of Urban America
Shu Lea Cheang: Fluttering Objects of Desire
1920: The Subtlety of Subversion / The Continuity of Intervention
Opium Den: Desires and Disappointments
Woman as Protagonist: The Art of Nancy Spero
The Design Show: Exhibition Invitations in the USA 1940 - 1992
Shelagh Keeley: In Vivo: Drawings and Objects
Michael James O’Brien: Assembling Gender
Photographs 1990 - 1993
Cesar Paternosto: Abstraction as Meaning
Poverty Pop: The Aesthetics of Necessity
Mapping Interior Spaces: Video at the Edge of the Millennium
Existential/Political: Rudolf Baranik/May Stevens
The Garden of Sculptural Delights
Obscure: Touhami Ennadre and Paul Rosin
Conspiracies 1994: Experimental Film
The Mouth Inside the Eye
Let the Artist Live!
...its how you play the game.
Endurance: The Information
Counterculture: Alternative Information from the Underground Press to the Internet
Guy Debord’s: The Society of the Spectacle
The Shape of Sound
Terra Bomba: A Performance View of Installation
La Tradicion: Performing Painting
Eye of the Tiger: A Survey of Contemporary Korean Artists
Public Notice: Art and Activist Posters
Wild Transmissions: Channeling cultural information through the medium of video
New York Stories: Drawings by Seth Tobocman and photographs by Brian Weil
A BRIEF HISTORY OF EXIT ART
Exit Art was founded in 1982 by curator Jeanette Ingberman and artist Papo Colo, as a non-profit cultural center dedicated to transcultural, multi-disciplinary explorations of contemporary art issues. Exit Art researched issues in contemporary art through exhibitions, publications and media projects. One of the founding principals of Exit Art was to present a broader cultural examination of contemporary art. We did this through the presentation of critical issues that were not being addressed and artists who for a variety of reasons, social, political, aesthetic and ethnic, were not being exhibited. Exit Art’s projects have ranged from thematic group exhibitions, to multi-media projects, to one-person mid career exhibitions, which have challenged and provoked audiences to expand their ideas about contemporary culture.
From 1982 to 1983 Exit Art worked out of an office space, programming its exhibitions into existing art spaces in New York City such as Franklin Furnace, the New York Public Library and White Columns among others. By 1984 Exit Art recognized the need to establish its own facility. In 1984 Exit Art was a pioneer in SoHo and opened a 5000 sq ft exhibition space. The period between 1984 and 1992 defined Exit Art as a center where the work of under-represented artists and ideas were explored. More than thirty one-person exhibitions as well as group projects, issue oriented exhibition topics, film and video programs and performance events were organized during those nine years making Exit Art a center for contemporary art.
One of the first projects during this period was the exhibition Illegal America, presented as its founding exhibition in 1982 and again in an expanded version in 1989. Illegal America traced the history of artist actions that came into conflict with the law. The exhibition was comprised entirely of documentation - photographs, ephemera, legal documents, and artist statements which offered a history of artist challenges to legal restrictions. Artists ranged from Vito Acconci to John Giorno, from Charlotte Moorman to the artist collectives Colab. This combination of art and documentation characterized the experimental approach to exhibitions Exit Art would adopt throughout its history.
During its first 10 years, Exit Art presented many one-person exhibitions, providing critical exposure for artists at mid-career in retrospective and catalog projects as well as project installations. These one-person shows helped to establish the careers of many artists whose work was formally considered to be on the fringes of the cultural map. Many of these artists are now acknowledged to be important figures in American Art - David Hammons, Jimmie Durham, David Wojnarowicz, Martin Wong, Willie Birch, Krysztof Wodiczko, Adrian Piper, Tehching Hsieh, Shu Lea Cheang, Cecilia Vicuna.
Since its inception in 1982, Exit Art has had a history of presenting innovative performance, theater, film/video, and music programs on a yearly basis such as: Forbidden Films (1982); Oracle: a 12 hr performance by 40 interdisciplinary artists (1985); Good Treatment for Horses: a 1920s' Russian Constructivist play (1987); The First International Festival of Super 8 (1988); Samuel Beckett: The Media Work (1990); and Hybrid State Films (1992);
Exit Art ended its first phase in 1992 with the film, literary and exhibition project The Hybrid State, an examination of our diverse culture. The exhibition project used the artist’s work as a starting point for a curatorial installation piece. In so doing, Exit Art expanded the relationship between artist and curator. Conceived as a curatorial collaboration’ an elaboration of the artist ideas, Exit Art created installations to present a portrait of the artist. The Hybrid State revealed the nuances in interpretation and the expectations placed upon visual culture. The exhibition expanded Exit Art’s curatorial possibilities and explored the function and interrelation between the artist and curator, between essence and form, and between purpose and message.
In 1993 Exit Art moved to its current space at 548 Broadway, a 17,000-sq. ft. facility that includes two large exhibition spaces, a café and a separate theater. Its programming expanded to include younger, emerging artists on a regular basis, and continued to present cultural history projects. The 1993 exhibition Fever featured the work of over 40 artists, most under 30. That exhibition brought Exit Art to the attention of a broader public through extensive coverage in the mass media, and, at the same time, reinvigorated the art community of the 90s with a fresh, new approach represented by the new generation of artists. Indeed, Newsweek art critic Peter Plagens has selected Fever as one of the important exhibitions of the decade.
Since 1993, Exit Art’s Exhibition Program falls into 6 program categories:
1. Historical shows. These projects examine a specific aspect of art and culture and features original artwork and documentation. A key historical project was the presentation of Endurance: The Information in 1995. Endurance was a groundbreaking re-examination of 20th century performance art. The exhibition consisted of more than 60 documentary photographs - enlargements (so that figures and image would be life-size) - and artist statements and videotapes to illustrate a particular phenomena within performance art. All the work presented tested the physical, mental and spiritual endurance of the body. The exhibition began with the Dada artist Arthur Cravan’s 1916 boxing match against heavy weight champion Jack Johnson and also included Marina Abramovic, Vito Acconci, Joseph Beuys, Chris Burden, Bob Flanagan, Tehching Hsieh, Gina Pane, Carolee Schneemann, Stelarc, Yoko Ono, and others.
2. Graphic design and Communication Exhibitions. An important area of concentration during the 1990s was the interaction between art and design. The first project in 1993 was The Design Show, a 50 year retrospective of artist exhibition announcements produced by museums, art galleries, and alternative spaces in the US 1945-1995. The second project was Counterculture, 1996, a historical examination of the design that grew out of the underground press and other alternative media, up to the Internet that included more than 2,000 printed newspapers, newsletters and posters, which reflected the intersection between graphic design and politics. The third project in 1997, Public Notice: Art and Activist Posters, 1951-1997 featured over 450 posters highlighting the intersection of graphic design and political activism.
3. Experiments in Exhibition Presentation. Exit Art’s new facility lent itself to expanding the boundaries of the exhibition with projects that explored the curatorial process. Let the Artist live! of 1994 brought together fifteen international artists who actually lived and worked at Exit Art for seven weeks. The exhibition exposed the creative process of the artist as well as the art object - exploring ideas about public and private habitat, architecture, design, performance and interactive living. In 1995 Exit Art collaborated with three contemporary art curators - Robert Storr of the Museum of Modern Art, Nancy Spector of the Solomon R. Guggenheim Museum, Thelma Golden formerly of the Whitney Museum of American Art in ... it’s how you play the game. Each curator took turns selecting and installing work in Exit Art in response to each other’s selections. The exhibition, conceived as a game, changed every three days. The process revealed decisions on how a curator conceives an exhibition and how an exhibition is constructed.
4. Issue Oriented Group Exhibitions. Exit Art explored issues surrounding contemporary art practice in a series of group projects. Some of the signature projects were 1920, juxtaposition of women artists from the 70s and 90s, examining the range and scope of contemporary female artists. Poverty Pop, 1994, an exhibition that featured 25 artists from the U.S. and abroad that regularly used recycled materials in their work, and The Shape of Sound, a show of approximately 10 visual artists and 10 musician/composers that created installations that incorporated sound within their work.
5. Young and Emerging Artists. Since 1993’s Fever exhibition, Exit Art features the work of young, emerging artists in an annual exhibition that places their work within the contemporary art dialogue.
6. Performance Art Projects. Exit Art has continued to explore the relationship between performance, theater and visual art. Exhibitions such as the 1997 project Terra Bomba featured the work of young artists who are both visual and performance artists and asked them to present their artwork and schedule performances. La Tradicion of 1997 included painters, all of whom transferred their studios to Exit Art.
The End will reveal this diverse approach to contemporary culture. It will provide the public with an alternative view of contemporary art history and explore innovative curatorial approaches to contemporary art.