Slow and Steady Wins the Race will be speaking at this panel for our friend, artist Cheryl Donegan. Very honored to be part of this great group.
The New Museum
When Jasper Johns said, “Take something. Do something to it. Do something else to it,” he might not have meant “Cut jeans into shorts.” Art and fashion, however, have long crossed paths, and their intersections continue to draw out the art world’s uneasy relationship to market culture and to the market’s overt commodification of art objects. Exploring recent collaborations and collisions between art and fashion, this panel of artists, designers, and writers will consider how online shopping, social media, performance, and legacies of craft have allowed them to push such boundaries, playing openly between the poles of outlandish luxury and debased realism. Panelists will include Antonio Blair, Cofounder of House of Ladosha; Eric Mack, artist; Mary Ping, fashion designer and Founder of the conceptual clothing and accessory label Slow and Steady Wins the Race; and Emily Spivack, author of Worn Stories (Princeton Architectural Press, 2014).
This event is organized on the occasion of “Cheryl Donegan: Scenes + Commercials,” an exhibition and a residency organized by the Department of Education and Public Engagement as part of its R&D Season: LEGACY, in which Donegan continues her exploration of the production and consumption of images in mass culture, middlebrow design, and art history. The exhibition presents works that span Donegan’s career, from the early ’90s to the present, tracing conceptual threads that run across her practice, including her interest in the mediated image, compressed space, and the mark’s indexical relation to the body. Throughout the run of the exhibition, the Resource Center will feature a major new installation by Donegan, titled “Concept Store,” that displays garments, drawings, prints, and textiles she has produced alongside items she has sourced from websites such as eBay. In this installation and the other works in “Scenes + Commercials,” the artist engages in a process of “refashioning the readymade” by alluding to longer histories of repurposing in both art and culture.
Secretary Press is pleased to announce the publication of its latest book, Stone’s Throw, by art historian, critic and curator David Deitcher.
This multi-layered text describes the social, political and personal context that framed the emergence of Felix Gonzalez-Torres, one of the most critically acclaimed artists of the late- 20th century. Stone’s Throw attests to the importance of relationships forged throughout the most challenging years of the North American AIDS crisis, as it sheds light on Deitcher’s friendships with Gonzalez-Torres, activist curator Bill Olander, and the milieu to which they belonged.
The title, Stone’s Throw, refers to the resonating effects on the author of a single sentence by Carl Andre: “My sculptures are masses and their subject is matter.” Gonzalez-Torres brought that sentence to the author’s attention soon after Deitcher accepted the artist’s invitation to write the introductory essay for the catalogue that accompanied Gonzalez- Torres’s 1992 project for Magasin 3 Konsthall (Stockholm).
Now, twenty years after Gonzalez-Torres’s death, Deitcher revisits many of his most celebrated works. Stone’s Throw strikes a balance between personal remembrance and cultural analysis, and is richly illustrated with previously unpublished ephemera and full color reproductions of poignant works by, among others, Nayland Blake, Tony Feher, Jim Hodges, and Roni Horn. In its combination of critical re-evaluation and personal testimony,Stone’s Throw marks a further development in Deitcher’s commitment to writing intimate art histories.
Born in Montreal, Canada, David Deitcher is a writer, art historian, and critic whose essays have appeared in Artforum, Art in America, Parkett, the Village Voice, and other periodicals, as well as in numerous anthologies and monographs on such artists as Felix Gonzalez-Torres, Isaac Julien, and Wolfgang Tillmans. He is the author of Dear Friends: American Photographs of Men Together, 1840-1918 (Abrams, 2001) and curator of its accompanying exhibition at the International Center of Photography in New York. since 2003, he has been core faculty at the International Center of Photography/Bard College Program in Advanced Photographic Studies. He lives in New York City.
Happy Groundhog Day…
Opening reception: January 23rd, 2016 6-8pm