GREG SMITH Garage Politburo 07 June 2019 – 26 July 2019
For pricing and availability please visit our Private View HERE
Susan Inglett Gallery, NYC
The world needs better bureaucracies, and I aim to give it one. A bureaucracy that doubles down on its intrinsic, implacable, and compromised mystery. A bureaucracy that saves. I know! I know! No one likes bureaucracy. It's at best a necessary evil, an unavoidable part of reality that seems to be ever-expanding. Experiences with it typically range from frustrating to devastating. But considering the current state of world affairs, I'll take procedures, forms, and bureaucrats over bias, money, and nationalism any day. My expectations, some might say, are wildly diminished. Perhaps. But I stumble toward an alternative—a beta version—for my seventh solo show at Susan Inglett Gallery, Garage Politburo. Expect an imposing edifice, seals, insignias, busts, colors, forms, hanging files, and mugs. Expect lapel pins, banners, concrete, and stacks of manila folders. And there's "Tabletop Assumption," a video of drones and organizational charts. Bureaucracy and play: there is no alternative. Throughout, imagined bureaucracies serve as inspiration: Psychoanalytic Placement Bureau (Fredric Jameson), Office of American Absorption (Philip Roth), Anti-Dishumanitarian League (Nisi Shawl), Central Services (the movie Brazil), Ministry of Plenty (George Orwell), and the Condolence Payment Department of the Joint Compensation Office (Omar El Akkad). Of course, the overwhelming mass and faceless authority of bureaucracy usually makes for grim portrayals, and rightfully so. But I see an opening: technology has changed the game, once again democratizing what had required outsized resources. Blockchain technology brings bureaucracy creation to the people, opening up the possibility of making ministries that are particular, domestically scaled, or even boutique. And the accompanying markets (inescapable nowadays) are trivial to set up, all while maintaining a bureaucratic character. Rest assured, the familiar elements are present—forms, payment mechanisms, abstraction, data storage, and unforgiving procedures—but now everyone has the opportunity to tinker. Best of luck, for example, heading to Ethereum address 0x6B9d46a223fFa343f8b14D855A8314B0EfF7fcb7 to fill out FormSI060719 (Documentation at https://www.github.com/GaragePolitburo/SI060719). This bureaucracy is but a germ, but it's complete and semi-functional. Here is a future, from the tabletop. Bureaucracy saves! – Greg Smith
Installation View, 2019 Susan Inglett Gallery, NYC
Paper Seal :: Mid-level, 2019 Concrete, wood, paper, cotton thread, acrylic, latex paint, graphite, colored pencil, zip ties, metal hanger, lapel pins and salt and pepper shaker 21 1/2 x 19 1/4 x 13 1/2 in.
Paper Seal :: In My Name, 2019 Concrete, wood, paper, cotton graphite, colored pencil, cable 33 1/2 x 17 1/2 x 8 1/2 in. overa 18 x 17 1/2 x 8 1/2 in. object
9 thread, acrylic, latex paint, e ties, metal hanger and lapel pin all
Paper Seal :: Eyebloom Bureaucracy, 2019 Concrete, wood, paper, cotton thread, acrylic, latex paint, graphite, colored pencil, cable ties, metal hanger and electronic part 19 1/2 x 17 3/4 x 7 1/2 in.
Paper Seal :: Bunched, 2019 Concrete, wood, paper, cotton thread, acrylic, latex paint, graphite, colored pencil, cable ties and metal hanger 22 x 19 x 8 3/4 in. overall 19 x 19 x 8 3/4 in. object
Bust :: Years of Service, 2019 Concrete, cotton thread, acrylic electronic part 16 x 9 x 3 1/2 in. overall 7 x 9 x 3 1/2 in. object
c, newspaper, screen and
Bust :: Notched, 2019 Concrete, wood and electronic part 9 x 4 3/4 x 5 in.
Parachute Seal :: Motley and Stars, 2019 Nylon parachute, polyester thread, acrylic and newspaper 156 x 108 in.
Parachute Seal :: Motley and Gray, 2019 Nylon parachute, polyester thread, acrylic, newspaper and paper 156 x 96 in.
Installation View, 2019 Susan Inglett Gallery, NYC
Paper Seal :: Raptor-Sized Man, 2019 Paper, graphite, colored pencil, acrylic and metal 46 in. dia.
Paper Seal :: Raptor-Sized Man (detail), 2019
Drone Seal, 2019 Drone parts, wood, paper, cotton thread, acrylic, latex paint, graphite, colored pencil, cable ties and salt and pepper shaker 39 1/2 x 39 x 5 1/2 in.
Helmet (detail), 2019
Helmet, 2019 Wood, acrylic, newspaper, canvas, cable ties, lapel pins, mugs, Plexiglas, electronics, rattan, fake pearls, microphone and microphone cord 20 x 18 x 14 in.
Organizational Chart, 2019 Paper, graphite, colored pencil, acrylic, metal, cable ties and latex paint on wood 20 x 21 x 20 in.
Organizational Chart (detail), 2019
Installation View, 2019 Susan Inglett Gallery, NYC
Concrete Seal :: Eagle, 2019 Concrete, wood and hardware 30 x 21 x 21 in. with support 18 x 21 x 21 in. object
Concrete Seal :: Eagle (detail), 2019
Concrete Seal :: Fist, 2019 Concrete, wood, hardware, cotton rope, acrylic Impression Soleil Levant, Yesterday (detail), 2013-2018 and polyester thread 50 x 34 x 8 1/2 in. overall 22 x 22 1/2 x 8 in. object
Concrete Seal :: Fist (detail), 2019
Concrete Seal :: Nobs, 2019 Concrete, wood, hardware, cotton rope, acrylic and polyester thread 60 x 21 1/2 x 9 1/2 in. overall 20 x 21 1/2 x 4 in. object
Concrete Seal :: Nobs (detail), 2019
Concrete Seal :: Wig, 2019 Concrete, wood, hardware, salt and pepper shaker fragment and epoxy 19 1/2 x 14 x 14 in. with support 10 x 14 x 14 in. object
Concrete Seal :: Wig (detail), 2019
Tabletop Assumption, 2019 DVD Running time 9.30 minutes Edition of 5 plus 1 artist’s proof
Tabletop Assumption, 2019 DVD Running time 9.30 minutes Edition of 5 plus 1 artist’s proof
TINA, Installation View, “Makeshift,” curated by Michelle Grabner, 2018 John Michael Kohler Arts Center, Sheboygan, WI Through site-specific installations, “Makeshift,” explored the role of the studio in contemporary art practices. The exhibition featured the work of Trenton Doyle Hancock, Jessica Jackson Hutchins, Brad Kahlhammer, Odili Donald Odita, Barbara Rossi, Greg Smith and Alison Elizabeth Taylor. Photo: John Michael Kohler Arts Center
BIOGRAPHY
GREG SMITH Born in DeKalb, IL, 1970 Hunter College, MFA, 2005 Harvard University, PhD in Physics, 2000 Amherst College, BA, 1993 Lives and Works in New York SOLO EXHIBITIONS
Brooklyn, NY
2019
Grabner, John Michael Kohler Arts
“Makeshift,” curated by Michelle “Garage Politburo,” Susan Inglett Gallery, NYC 2017
Time Equities, Inc. Art-in-Buildings
Center, Sheboygan, WI 2016
Program, NYC
Running of the Indy 500,” Schwitzer
“Greg Smith: Breakdown Lane,” Museum of Fine Arts, St. Petersburg, FL 2016
Gallery, Indianapolis 2015
“Zero Width Non-Joiner,” Susan Inglett Gallery, NYC
Art Center, Atlanta “Making Space,” curated by Susanne
“Susan Inglett Gallery, New York
Doremus, Zolla/Lieberman Gallery,
Munich
Chicago, IL 2012
University of Tennessee, Cress Gallery
“Art on Paper,” Weatherspoon Art Museum, Greensboro, NC
of Art, Chattanooga, TN
2009
Dark Fair, Cologne, Germany
“Breakdown Lane,” Susan Inglett
2008
“The Way Things Go,” Susan Inglett
Gallery, NYC “Quality Uncertainty: The Market for
Gallery, NYC 2007
Lemons,” Faulconer Gallery, Grinnell College, IA “ners Banners Banners Ban,” Susan “Bearded,” Susan Inglett Gallery, NYC
“High Five: Emerging Art in America,” CW Network, Burbank, CA
2006
White Columns Benefit Auction, NYC “Cluster,” curated by Katie Holten,
Inglett Gallery, NYC 2010
9/50 Summit, Atlanta Contemporary
Museum, San Antonio, TX featuring Greg Smith,” Eyes Only,
2012
“I am a Lie and I am Gold,” curated by Marco Breuer, Yossi Milo Gallery, NYC
2014
“Greg Smith: Loop,” McNay Art
2014
“Asphaltum: Celebrating the 100th
Participant, Inc, NYC 2005
“Hunch & Flail,” curated by Amy
2008
Susan Inglett Gallery, NYC
Sillman, Artists Space, NYC
2007
Devening Projects + Editions, Chicago,
“First Look,” Hudson Valley Center for
IL
Contemporary Art, Peeksill, NY
2006
Susan Inglett Gallery, NYC
“Thesis Show,” Hunter College Art
2005
White Columns, NYC
Museum, NYC
GROUP EXHIBITIONS
SCREENINGS
2019
2006
“The Smiths,” Marlborough, London, UK (upcoming)
2018
“between days,” Honey Ramka,
Video screening of “Tubermisickit” (2005), Galapagos Art Space, Brooklyn
2005
Video screening of “The shoe and the
BIOGRAPHY
GREG SMITH umbrella,” Museum of Modern Art, NYC
30 April 2014. Staff. “Shape of the Universe,” ARTtime, 10 May
AWARDS
2010. Bors, Chris. “Chris Caccamise in New York,”
Artinfo, 10 April 2008.
2013
John Simon Guggenheim Fellowship
2010
Manhattan Community Arts Fund Grant
Staff. The New Yorker, 25 July 2005, p. 21.
2005
Rema Hort Mann Foundation Art Grant
Moyer, Carrie. “Not by Design,” Gay City News,
LMCC Workspace Residency Program Nancy Ashton Memorial Fund, Hunter College Art Department
21-27 July 2005. Genoccho, Benjamin. The New York Times, 5 June 2005.
TALKS 2006
Campari Talks at Artist’s Space: Carolee Schneemann with Mary Coble and Greg Smith, Artist’s Space, NYC, 15 February, 2006
BIBLIOGRAPHY Westall, Mark. “Marlborough is to present The Smiths, a group exhibition inspired by a typically stimulating and amusing conversation with the artist Maurizio Cattelan,” FAD Magazine, 18 June 2019. Wei, Lilly. “Makeshift,” Studio International, 25 February 2019. Rodney, Seph. “Turning the Artist’s Studio Inside Out,” Hyperallergic, 16 November 2018. Yau, John. “Better Days,” Hyperallergic, 17 July 2016. Goffstein, Sarah. “GREG SMITH Breakdown Lane,” The Brooklyn Rail, 15 July 2014. Yau, John. “Greg Smith’s 11-Minute Road Trip,”
Hyperallergic, 18 May 2014. Saltz, Jerry. “Greg Smith: BREAKDOWN LANE,”
New York Magazine, 21 May 2014. Cascone, Sarah. “New York Gallery Beat: 6 Critics Review 18 Shows,” artnet News, 7 May 2014. Pini, Gary. “10 Must-See Art Shows,” Papermag,
Desk Seal, 2019 Drone parts, wood, cardboard, newspaper, latex paint and cable ties 92 x 145 x 14 1/2 in.
GREG SMITH: Garage Politburo Publication © 2019 Susan Inglett Gallery NYC All Rights Reserved Design: Lily Ahern Photo Credit: Adam Reich, NYC. Text: Greg Smith Published by: SUSAN INGLETT GALLERY 522 West 24 Street New York, New York 10011 212 647 9111 | info@inglettgallery.com No image or portion thereof may be copied, reproduced or electronically stored/transmitted without permission.
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