Tag Archives: Participant

DASH SNOW — THE DROWNED WORLD

“Dash [Snow] and David Hammons are both artists with a witch-doctor feel to their work, which is important, because ultimately what is the value of art?… In an increasingly secular society, it’s even more important as people try to form their belief systems. If you’re not going the readymade route, then you look around for the tools available to make something of your own. That’s a big part of the artist’s job or the writer’s job…

“It’s found in the moment, not in an academic way. You find it in the practice. I think the academic and institutional part of the art world is a big problem. Artists often collaborate with them to their detriment, because they think they need the institution as a go-between, a translator for the public. Dash, like Hammons, understood that you don’t need the middleman. Cut out the middleman. Make him wait in line with everyone else. It has to be on the artist’s terms.” — Glenn O’Brien on Dash Snow*

The new exhibition THE DROWNED WORLD presents work from the late artist’s archive, including a selection of rarely seen sculptures.

DASH SNOW—THE DROWNED WORLD

Through May 12.

Participant Inc

253 East Houston Street, New York City.

*”I Don’t Believe in Masterpieces AnywayGlenn O’Brien on Dash Snow,” Ursula 2 (Spring 2019).

See Nicole Miller and David Rimanelli on Snow.

Dash Snow, from top: Mixed-media sculpture, 2000–2009; The Drowned World: Selections from the Dash Snow Archive, 2019, installation view, Participant Inc, New York, photograph by Mark Waldhauser; Untitled, 2000–2009, Polaroid (Kunle Martins (left) and Snow); Untitled (Past, Present), 2006, mixed-media sculpture; Untitled, 2007, collage; Untitled (Her Kisses Were Dangerous), 2006–2007, collage. Images © Dash Snow, courtesy of the Dash Snow Archive, New York City and Participant Inc. Special thanks to Lia Gangitano.

K8 HARDY AND RAÚL DE NIEVES AT PARTICIPANT

“In K8 Hardy’s performances, the body makes itself a transmitter in order to update and queer the world with its broadcasts….If contemporary art is first and foremost a system for producing subjects in the form of contemporary artists…it’s probably time for artists to rethink their own role in this system’s reproduction….Instead of simply feeding the network in new and creative ways, artists would get more involved in de-creation, and engage subjectivization as an ever-recurring opportunity for unworking.” — John Kelsey*
K8 Hardy, Raúl de Nieves, and Participant present BEAUTIFUL RADIATING ENERGY, with de Nieves in a piece Hardy first performed at Reena Spaulings in 2004.
BEAUTIFUL RADIATING ENERGY, Sunday, May 21. Doors open at 7 pm.
PARTICIPANT, 253 East Houston Street, New York City.

participantinc.org/

At the 2017 Whitney Biennial, a room of de Nieves’ work—robed figures, taxidermy birds, a wall of faux stained glass—anchors the east end of the fifth floor. “Part church, part nightclub, part tomb.”**

RAÚL DE NIEVES—2017 WHITNEY BIENNIAL, through June 11.

WHITNEY MUSEUM OF AMERICAN ART, 99 Gansevoort Street, New York City.

whitney.org/Exhibitions/2017Biennial

 

*John Kelsey, “Information in Drag,” in K8 Hardy, How To: Untitled Runway Show, eds. K8 Hardy and Dorothée Perret (Los Angeles: DoPe Press, 2013), 111, 117–118.

**Charlotte Ickes, Whitney Biennial 2017, exh. cat., ed. Jason Best (New York: Whitney Museum of American Art, 2017), 152.


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Raúl de Nieves, 2017 Whitney Biennial. Image credit: Company Gallery, New York.