Ed Ruscha, SUDDEN SPURT OF ACTIVITY, 1972, gunpowder on paper, 11 1/2 x 29 in., 29.2 x 73.7 cm, Courtesy of the artist and Gagosian Gallery
The exhibition explores fiction and deception through a mix of more than 40 heavy-hitters, like Ed Ruscha and Sherrie Levine, and newer names like Julieta Aranda. Spanning several generations, from Dada to the present, it's an impressive nod to the gallery's deep history and new trajectory.
Julieta Aranda, A Machine of Perpetual Possibility, 2008, perspex, laquered wood, computerized air compressor, pulverized vintage science-fiction novels with a story line set on a date prior to 2007, edition of 3 + 2AP, 51.2 x 19.7 x 19.7 in., 130 x 50 x 50 cm, © Julieta Aranda
John Dogg, Untitled (tire), 1986, rubber tire and continental kit, 30 x 30 x 10 in., 76.2 x 76.2 x 25.4 cm, Courtesy of the artist, Photography by Robert Mckeever, Gagosian Gallery
"The idea came from a discussion we were having about fiction and deception as an impulse that was turning up in a variety of places in culture, from media pranks to false identities to materialist trickery," say Freeman and Neykov. "One of the objectives of the show was to explore the theme from a variety of angles. So, for instance, the John Dogg exemplifies the impulse towards a surrogate identity."
Ryan Gander, Matthew Young falls from the year 1985 into a white room (Maybe this is the way it is supposed to happen), 2009, mixed media, edition of 3 + 1AP, dimensions variable, Courtesy of the artist and Lisson Gallery, London
"Ryan Gander points toward the use of fictional narrative as a support structure," say the curators.
Craig Kalpakjian, Monitor, 1998, cibachrome on aluminum, edition of 3, 36 x 48 in., 91.4 x 121.9 cm, © Craig Kalpakjian
"Craig Kalpakjian is a good example of a medium being presented as one thing and then being another," say Freeman and Neykov.
Blind Cut is open through February 18 at the Marlborough Gallery, 545 West 25th St., marlboroughgallery.com