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Art
Disclaimer
We do not collect art. We collect nothing physical. No room.
Nonetheless, we have acquired a few pieces of art for our apartment. Some
of them are shown here.
Pere Salinas
Untitled 3 (From the Series The Show
Must Go On)
Acrylic on Paper
Signed by the Artist
Year: 2003
Width 15 in
Height 19 in
Bruce Cratsley
Brooklyn Bridge Centennial
Silver Print
Printed and Signed by the Artist
Year: 1983
Width 10 in
Height 10 in
Beach, Atlantic City
Gelatin Silver Print
Printed and Signed by the Artist
Year: 1977
Width 10 in
Height 10 in
Hilaire-Germain-Edgar Degas
After the Bath, Woman Drying Herself
Custom Print
Year: Probably 1888-92
Plurp
No Presents for Santa
Performance Art / GNE
Year: 2003 - 2004
With assistance from Rogue Drone,
Marq Ed,
Emily, ravingOak, HandyBiteSize and
surfdude
Curator Notes
by David M. Chess, Curator, No Presents for Santa
Plurp's art, or more accurately
not-art, in the discourse "No Presents for Santa" reminds us (while at
the same time denying) that signification is deferred; that we should not
hope to find some patriarchically-given "meaning" somewhere beyond the
text (as though there were anything but text to be found). At one
level, the narrative is a taking away, a making pre(sence) of (ab)sence.
But this is naive. What Plurp has in fact done is stripped away the
signifier, and let us see that below it is only another signifier.
Have he and his cohort "moved" nearly fifteen thousand "presents" (signifying,
if we were to believe it, the privilege and wealth of the West) away from
the "North Pole", to "Mountains" or "Bobbleton"? They cannot have,
for these places do not exist! But in the instant that we say this,
it crashes upon us that no places exist; that every "place" is socially
constructed, built from the metaphors that hegemony imposes on the fragility
of discourse. By impressing this message upon us, Plurp and his troupe
have (and at the same time have not) bent the consensus in another direction
(but are not all directions the same?), thereby exposing the ineluctable
historicity, the transformational liberativity, of GNE and the narratives
that it embeds.
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