Curatorial Projects - Flatline: 2D and the New Depthiness
Curated group exhibition featuring 24 artists engaging the nature of 21st century "depthiness," "truthiness" and "post-truth" within the constraints of a two-dimensional surface.
In Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson noted our late 20th century obsession with surface; a condition he coined, “the new depthlessness,” which emphasized an “exhilaration of surfaces”; the giftwrapping was more important than the present. This visual and cultural “depthlessness” downplayed the necessity of webbed meaning in favor of simulacra—a reaction to earlier modes of representation that favored the real and the referential.
Timotheus Vermeulen suggests the 21st century is characterized by its own culturally permeating approach to depth, a paradigm he dubs “the new depthiness.”
The Oxford word of the year for 2016 was “post-truth.” In 2005, Stephen Colbert’s “truthiness” articulated a similar sense of the fact-not-fact that dominates our socio-political atmosphere; the gut-feeling riding rough-shod over the empirical. The 21st century and its appropriative, fluid, customizable nature is characterized by this kind of relative and convenient “truthiness”; a sliding, fuzzy and mutative idea of the real.
This in-between state is neither a depthless simulacrum, nor a referential, poke-through iceberg. It’s not contingent on meanings and referents, or stuck in a love affair with simulation and radiating surfaces. It’s capable of engaging both sides, embracing neither—a space bearing a dash of willful avoidance, a certain filter-bubble ignorance, and a well-informed sense of position on an unmarked map.
To consider the nature of two-dimensional art in a climate of spun-truth, I asked 24 artists to address a constellation of questions:
The artists were also asked to engage related texts:
Vermeulen, Timotheus, “The New Depthiness.” e-Flux 62. http://www.e-flux.com/journal/the-new-depthiness/
Atwood, Margaret. “Backdrop Addresses Cowboy.” 1976. http://www.poetryfoundation.org/poem/177290
In Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson noted our late 20th century obsession with surface; a condition he coined, “the new depthlessness,” which emphasized an “exhilaration of surfaces”; the giftwrapping was more important than the present. This visual and cultural “depthlessness” downplayed the necessity of webbed meaning in favor of simulacra—a reaction to earlier modes of representation that favored the real and the referential.
Timotheus Vermeulen suggests the 21st century is characterized by its own culturally permeating approach to depth, a paradigm he dubs “the new depthiness.”
The Oxford word of the year for 2016 was “post-truth.” In 2005, Stephen Colbert’s “truthiness” articulated a similar sense of the fact-not-fact that dominates our socio-political atmosphere; the gut-feeling riding rough-shod over the empirical. The 21st century and its appropriative, fluid, customizable nature is characterized by this kind of relative and convenient “truthiness”; a sliding, fuzzy and mutative idea of the real.
This in-between state is neither a depthless simulacrum, nor a referential, poke-through iceberg. It’s not contingent on meanings and referents, or stuck in a love affair with simulation and radiating surfaces. It’s capable of engaging both sides, embracing neither—a space bearing a dash of willful avoidance, a certain filter-bubble ignorance, and a well-informed sense of position on an unmarked map.
To consider the nature of two-dimensional art in a climate of spun-truth, I asked 24 artists to address a constellation of questions:
- As artists, how do we position ourselves in fuzzy, in-between space?
- Do we embrace “post-truth”? Do we destroy it?
- How does a flat, 2D surface enable us to raise questions about literal and conceptual depth? What is the “truthiness” of implied depth?
- What does it mean to make works on paper in a “post-truth” era?
- Does 2D become more (or less) relevant when our concept of depth changes?
- What are the work of art’s responsibilities, if any? In particular, how does creating work on a 2D surface remain relevant, poignant and effective in the 21st century?
- How can a 2D surface address “the new depthiness,” and the convenient and fluid veracity of post-truth?
The artists were also asked to engage related texts:
Vermeulen, Timotheus, “The New Depthiness.” e-Flux 62. http://www.e-flux.com/journal/the-new-depthiness/
Atwood, Margaret. “Backdrop Addresses Cowboy.” 1976. http://www.poetryfoundation.org/poem/177290
Participating Artists (random order):
|
Susan D. Hopp (Colorado/Georgia, MFA)
Cindi Gaudette (New Mexico, MFA) Pamela Rozelle Drix (New York, MFA) Jessica Weybright (New Mexico) Sam Smart (New Hampshire, MFA) Regan Rosburg (Colorado, MFA) Adam Finkleston (Missouri, MFA) Les Ann Holland (New Mexico, MFA) Kiera Reese (New Hampshire, MFA) Trish Meyer (New Mexico, BFA) Allison Conley (Connecticut, MFA) Joshua Sevits (Vermont, MFA) |
Valerie Spain (Pennsylvania, MFA candidate)
Michelle Saffran (Vermont, MFA) Kendall Murakami (New Mexico, BFA) Mary Zompetti (Vermont, MFA) Fotis Begetis (Athens, Greece, MFA) Lisette Chavez (Texas, MFA) Nina Early (Massachusetts, MFA) Frol Boundin (South Carolina, MFA) Jessica Krichels (New Mexico, BA) Marilee Salvator & Kristina Arnold - collaboration (Kentucky, MFA) Ren Adams (New Mexico, MFA) Lindsey Kelly (Massachusetts, MFA) |
Curated by: Ren Adams
Exhibition opening/reception: Friday, October 5, 2018, 5- 8:00 pm.
Exhibition dates: Oct. 5 – 27, 2018.
Artist talks: TBA
Gallery hours: Fridays and Saturdays, 10 - 6, and by appointment.
Where:
Remarque Gallery
3812 Central Ave SE
Albuquerque, NM 87108
Curated by: Ren Adams
Exhibition opening/reception: Friday, October 5, 2018, 5- 8:00 pm.
Exhibition dates: Oct. 5 – 27, 2018.
Artist talks: TBA
Gallery hours: Fridays and Saturdays, 10 - 6, and by appointment.
Where:
Remarque Gallery
3812 Central Ave SE
Albuquerque, NM 87108
Download the curatorial concept and exhibition framework to learn even more about it:
| flatline_-_complete_framework.pdf |
