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Deep and High
(online only)

June 17, 2020 – August 5, 2020

Featuring works by Sam Durant, Jenny Holzer, Kay Rosen, Allen Ruppersberg, Lorna Simpson, Kara Walker, and Fred Wilson

Works In Exhibition

Consider listening

Sam Durant Consider listening 2018 Screenprint on translucent film, light box

11 3/4 x 15 3/4 x 4 3/4 inches  (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30032)

Exhibited June 23 – August 3, 2018

Antwaun Sargent describes Sam Durant’s work this way: “When highly charged language is isolated and removed from its original context, does it have the same meaning? … [Sam Durant has] appropriated protest signs [and] colorfully reimagined [them as] light boxes … the artist isolates the language of protest as a way to expand its punch, while simultaneously highlighting that there are a range of issues on which the public and art can speak truth to power… To create the signs, Durant searched image archives of protest signs from around the world. He then transferred the handwritten vernacular statements onto colorful monochrome light boxes, typically used for commercial advertisement… Looking at the sign, one is reminded of how, over the course of the Black Lives Matter movement’s existence, the chant’s language has evolved to become more explicit…The statements may be decontextualized, mounted as they are on white walls in a gallery, but Durant brings together many voices seeking justice and equality. By exhibiting the anger, collective yearning, and optimism of the people, they are being heard clearly, even in a gallery.”

Read more about this work here

Siste Viator (Stop Traveler)

Allen Ruppersberg Siste Viator (Stop Traveler) 1993 Each book: inscribed with a WWII soldier's name; Bookends, twenty facsimile books and shelf, in twenty-three parts

Overall size:  18 7/8 x 39 3/8 x 6 5/8 inches  (47.9 x 100 x 16.8 cm)
Edition of 50
(Inventory #27442)

“Stop Traveler (Siste Viator)” was conceived for the Sonsbeek international sculpture exhibition, held in Arnhem, The Netherlands, the site of one of World War II’s most important battles. Intended as a “literary memorial” to British, Dutch, Polish, and German war casualties, this project features reprints of books and book covers that could have been read by those killed in battle. For each language, one book was reproduced entirely, while the other copies contain blank pages only. The artist inserted ex libris bookplates inscribed with a WWII soldier/casualty’s name.

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15 Mouths

Lorna Simpson 15 Mouths 2002 Fifteen iris printed images on Velour paper with deckled edge,

mounted on Hahnemühle Copperplate with letterpress printed text, series of fifteen
Image size:  1 1/2 x 3 1/4 inches each  (3.8 x 8.3 cm each)
Plate size:  1 3/4 x 3 3/8 inches each  (4.4 x 8.6 cm each)
Paper size:  10 x 8 inches each  (25.4 x 20.3 cm each)
Edition of 40, 10 AP
Signed and numbered on colophon in graphite
(Inventory #31752)

“15 Mouths” consists of 15 photographs, each with a short text below it, all installed on a wall, along with an audio recording of an ensemble humming (not singing the lyrics) the Richard Rodgers and Lorenz Hart tune “It’s Easy to Remember (And So Hard to Forget)”. Simpson chose the song specifically as she has vivid memories of John Coltrane’s version of the song being present throughout her childhood. The text below each image of lips could potentially refer to the internal monologues inside the head (not shown) to whom the lips belong. As Holland Cotter wrote in the New York Times, “Much of Lorna Simpson’s photo-based work has been about African-American identity approached from an oblique and elusive perspective. Most of the figures in her pictures, usually black women, were filmed with their backs to the camera, as if to make them generic presences, adaptable to any narrative. The implication is that there are many narratives about race available, all of them conditional and subjective, created by the pressures of personal experience, interpretation and memory.”

Exhibited: November 11, 2017 – December 23, 2018

Read more about this work here

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Foote’s Gun-Boats Ascending to Attack Fort Henry

Kara Walker Foote’s Gun-Boats Ascending to Attack Fort Henry 2005 from Harper's Pictorial History of the Civil War (Annotated)

Offset lithography with silkscreen on Somerset textured paper
Image size:  22 x 33 1/2 inches  (55.9 x 85.1 cm)
Paper size:  53 x 39 inches  (134.6 x 99.1 cm)
Edition of 35
Signed, dated and numbered lower right in graphite
(Inventory #29494)


“Foote’s Gun-Boats Ascending to Attack Fort Henry from Harper’s Pictorial History of the Civil War (Annotated)”, utilizes imagery of the 19th century “Harper’s Pictorial History of the Civil War” and, in Walker’s titling, “annotates” the images with her own additions. These additions create a more rounded picture of who was involved in this civil war-era scenario. The use of simplified, stereotypical silhouettes further complicates the scenario, as they are forms that do not have any detail and thus don’t accurately represent the individual (thus adding cartoonish, derogatory illustrations to a pre-existing and equally inaccurate representation of what happened in the Civil War).

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Fred Wilson 1863 2006 Archival inkjet with glassine overlay

Image/paper size: 19 1/4 x 27 1/8 inches (48.9 x 68.9 cm)
Frame size: 26 1/4 x 34 inches (66.7 x 86.4 cm)
Edition of 35
Signed and dated lower right, numbered lower left in graphite
(Inventory #31821)

For “1863”, Fred Wilson digitally reproduced a lithograph illustrating the encampment of the Sixth Regiment Infantry, Massachusetts Volunteer Militia, in Suffolk, Virginia during the Civil War. The 1863 lithograph was a type made to depict the many camps that were set up for the different regiments. The prints were as created for soldiers and their families at home. The depicted Sixth Regiment was the first unit in the Union Army to suffer fatal casualties during the Civil War. The majority of the regiment’s time in 1863, when not on expeditions, was spent digging trenches and clearing trees in front of the defensive lines around Suffolk. The hard labor had a detrimental effect on the general morale of the Union troops stationed there. This was exacerbated by antagonistic feelings between the civilians of occupied Suffolk and the enlisted men of the Sixth Massachusetts who were fighting to abolish slavery. With all this known, it is even more important to recognize that Wilson’s work consists of not only a digital reproduction of this image, but that Wilson laid a sheet of translucent glassine on top of the reproduction, so as to blur the details. The lower left corner of the glassine contains a cut hole, to allow a viewer to see one specific element of the image underneath: a Black woman at the fringe, hanging up laundry to dry. Through his ‘manipulation’ of the historical image, Wilson reveals, even within a white unit of the Union army who was fighting for the abolition of slavery, the almost invisibility of the laundress, and more pointedly, the invisibility of women and Black people and their work in the history of the Civil War, and ultimately the USA.

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Amber Essays-text: Selections from Inflammatory Essays 1979-82

Jenny Holzer Amber Essays-text: Selections from Inflammatory Essays 1979-82 2003 Electronic LED signs with color diodes and anodized aluminum housing, text selections from Inflammatory Essays 1979-82

16 1/2 x 2 x 1/2 inches or 2 x 16 1/2 x 1/2 inches
Edition of 20
Signed on label on reverse
(Inventory #19861)

Influenced by Holzer’s readings of political, art, religious, utopian, and other manifestos, the “Inflammatory Essays” are a collection of 100-word texts. Like any manifesto, the voice in each essay urges and espouses a strong and particular ideology. By masking the author of the essays, Holzer allows the viewer to assess ideologies divorced from the personalities that propel them. With this series, Holzer invites the reader to consider the urgent necessity of social change, the possibility for manipulation of the public, and the conditions that attend revolution. In the present form, the texts scroll along an LED screen. The speed, legibility and amount of digital “noise” varies from text to text. Furthermore, the LED can be hung either horizontally or vertically.

Read full text here

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Kay Rosen Palimpsest 1991/2020 Matte latex paint on wall

Dimensions variable
Edition of 12
Signed on accompanying certificate
(Inventory #31747)

The tenuousness and slippage which occurs in language parallel the fragility and uncertainty inherent in political systems of power. In “Palimpsest” a sacrosanct list of popes and kings, whose nine predecessors enjoyed authority determined, validated, and endorsed by a history of their namesakes, is thrown into confusion by the final ambiguous function of the single letter “X”. “X” changes this history from unquestionable ancestry to unknown ancestry. Historical predicability is threatened by the implications of a letter.