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4HIS CATALOGUE IS PUBLISHED IN CONJUNCTION WITH THE EXHIBITION %XACT )MAGINATION CURATED BY *AMES 6OORHIES /RGANIZED BY #OLUMBUS #OLLEGE OF !RT $ESIGN THE EXHIBITION IS ON VIEW FROM &EBRUARY TO !PRIL AT #ANZANI #ENTER 'ALLERY ON THE ##!$ CAMPUS $IRECTOR OF %XHIBITIONS %XHIBITIONS !SSISTANTS 0REPARATORS !UDIOVISUAL 3ERVICE -ANAGER $ESIGNER #OPY %DITOR 0RINTER

*AMES 6OORHIES +ATY #ASTRONOVO AND $ANNY 4USS !NTHONY #ASTRONOVO AND 3TEVE ,OMBARDI 0ALMER 0ATTISON .ATE 0ADAVICK *OHN %WING #ENTURY 'RAPHICS

! VERY GRATEFUL THANK YOU TO ALL THE LENDERS TO THIS EXHIBITION THE PARTICIPATING ARTISTS AND THE SUPPORTERS 3PECIAL THANKS TO *OHN !NGELO 3IMON "EDWELL 4OMMY "ENNETT -AJLENA "RAUN

"ARBARA "URCH *OSEPH #ARROLL !NTHONY #ASTRONOVO +ATY #ASTRONOVO $ICK $AKIN

#AROLYN %MMONS *EFF &ISHER 'AYLEN 'ERBER %D 'ILBERT 0RUDENCE 'ILL 3AM 'OULD #HRISTOPHER 'RIMES #HRIS (AMMOND 3ALLY (ENSON $ANIEL (UG !ARON (UGHES .ANCEE *AFFE (EATHER +YLE &RANK ,ASKOWSKI $OMINIQUE ,ÏVY 3TEVE ,OMBARDI 2IKKE ,UTHER $IANA -ATUSZAK -ANUELA -OZO .ATE 0ADAVICK 4ONY 0ELUSO "ONNIE 0INKERTON 4IM 2IETENBACH ,EILA 3AADAI #AITLIN 3HEY 3URLY 'IRL 3ALOON 7ALLACE 4ANKSLEY %RIC 4HOMPSON :EFREY 4HROWELL *ASMIN 4SOU $ANNY 4USS $AVID 4USS *ANE 4USS -ICHAEL 6ALLERA -ARK 6AN&LEET $AN 3 7ANG 3ARAH 7EINSTOCK AND -IKE 7OLF ! SINCERE APPRECIATION GOES TO 0RESIDENT $ENNY 'RIFlTH AND 0ROVOST !NEDITH .ASH FOR THEIR SUPPORT OF THE #ANZANI #ENTER 'ALLERY EXHIBITIONS PROGRAM 4HANKS ALSO TO THE )NSTITUTIONAL !DVANCEMENT AND #OMMUNICATIONS STAFF AT #OLUMBUS #OLLEGE OF !RT $ESIGN © BY #OLUMBUS #OLLEGE OF !RT $ESIGN THE AUTHOR AND THE ARTISTS !LL RIGHTS RESERVED .O PART OF THE PUBLICATION MAY BE REPRODUCED OR OTHERWISE TRANSMITTED IN ANY FORM OR BY ANY MEANS ELECTRONIC OR OTHERWISE WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER )3".

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72'$< 02'(6 2) 35(6(17$7,21 HAVE BECOME INCREAS INGLY PART OF THE DISCURSIVE COMPONENTS OF CONTEMPORARY ARTISTIC PRACTICES 4HE EXHIBITION SYSTEM INHERENTLY USES VARIOUS WAYS OF PRESENTING ART IN A GALLERY MUSEUM

+UNSTHALLE PROJECT ALTERNATIVE OR LABORATORY SPACE )T IS THE PRIMARY WAY OF OFFERING AN EXPERIENCE OF ART "UT THAT EXPERIENCE IS INmUENCED OR DIFFUSED HOWEVER MINOR

MERELY BY INSERTING ART INTO THIS SYSTEM INSTITUTIONALIZING IT WHICH AFFECTS HOW INFORMATION ABOUT ART IS COM MUNICATED %MBEDDED WITHIN THIS SYSTEM OF EXHIBITING CONTEMPORARY ART AT SITES ESTABLISHED FOR DOING SO IS QUITE NATURALLY A NUMBER OF VARIABLES INCLUDING ARTISTIC SUBJECTS CURATORIAL TASTES FUNDING DIRECTIVES BOARDS OF TRUSTEES DONORS LENDERS SPONSORS ARCHITECTURE AND GEOGRAPHICAL LOCATION 4HE ARTIST CURATOR VISITOR ARTS AD MINISTRATOR DEVELOPMENT OFlCER MARKETING DEPARTMENT

AND CITY OF THE EXHIBITING SITE ARE CONDUITS THAT INTERMINGLE WITH THESE AND OTHER FACTORS IN A KIND OF OPERATIC COURSE OF ACTIONS THAT BRING TOGETHER PRESENT AND INmUENCE THE VIEWER S EXPERIENCE OF ART 4HE QUALITY OF THAT EXPERIENCE IS PARTIALLY GAUGED BY HOW THE INSTITUTION OF ART MEDIATES BETWEEN ARTISTIC SUBJECT AND THE VIEWER &OR INSTANCE THE LAYOUT OF AN EXHIBITION INSTALLATION NARRATIVES DRAWN BETWEEN ARTWORKS THROUGH PROXIMITIES OR OPPOSITIONS THE ORDER IN WHICH THE VISITOR SEES THE ARTWORKS AND JUXTAPOSITIONS CREATED WITHIN HANGINGS AND GROUPINGS ARE ALL MEANS USED BY THE CURATOR VIS Ë VIS THE INSTITUTION TO NUDGE ALONG THE VISITOR IN AN EXPERIENCE OF AN EXHIBITION /THER INSTRUMENTS THAT COME INTO PLAY IN THIS ARENA AND AF FECT A RESPONSE TO ART ARE LABELS AUDIO GUIDES PRESS RELEASES CATALOGUES ADVERTISING SPONSORSHIP LIGHTING

ANNOUNCEMENTS GIFT SHOPS BOOKSTORES CAFÏS WEBSITES

OPENING RECEPTIONS ACADEMIA ART HISTORY CRITICISM JOURNALS

AND REPRODUCTIONSˆALL OF WHICH FALL UNDER SCRUTINY IN SOME FORM OR ANOTHER IN THE PRACTICE OF INSTITUTIONAL CRITIQUE )N FACT

%XACT )MAGINATION INCLUDES ARTISTS !NDREA &RASER AND ,OUISE ,AWLER WHOSE PRACTICES INCLUDE CONCEPTUAL AND SITE SPECIlC FORMS OF ART THAT EXAMINE THE INSTITUTION OF ART AND HOW ARTISTIC SUBJECT AND THE ART OBJECT ARE AFFECTED BY THE MECHANISMS OF IT 4HIS VERY EXHIBITION THIS CATALOGUE THIS ESSAY AND SOME OF THE COMPONENTS MENTIONED ABOVE ARE PART OF THAT INSTITUTION AND FALL DIRECTLY WITHIN THE PURVIEW OF INSTITUTIONAL CRITIQUE 4HE VISITOR S ROLE IS VITAL IN THE EXHIBITION SYSTEM SINCE AN EXHIBITION IS AFTER ALL MADE FOR THEIR CONTEMPLATION AND REmECTION COMMUNICATING SOME KIND OF ARTISTIC MES SAGE OR INSERTING SOME KIND OF VEHICLE TO RELAY THAT MESSAGE 7ITH REGARD TO VISITORS AND GROUP EXHIBITIONS 2ALPH 2UGOFF BELIEVES THAT AN EXHIBITION IS NOT IN THE END A FAIT ACCOMPLI WHOSE WORK IS DONE ONCE IT IS INSTALLED IN A GALLERY ON THE CONTRARY THAT IS PRECISELY WHEN ITS WORK BEGINS 2ATHER THAN PRESENTING A PREDIGESTED CULTURAL EXPERIENCE A STIMULATING GROUP SHOW CONVEYS A SENSE THAT IT IS REINVENTING THE WAY WE THINK ABOUT ART ON HOWEVER SMALL A SCALE IN A NEGOTIATION IN WHICH EACH VISITOR PARTICIPATES )N SHORT GROUP EXHIBITIONS CAN AIM TO REMIND US AS -ARCEL $UCHAMP INSISTED THAT THE VIEWER IS RESPONSIBLE FOR HALF THE WORK IN CREATING ART S MEANING 4HE SOCIETAL CULTURAL ECONOMIC POLITICAL AND ACADEMIC INSTRUMENTS USED BY THE lELD OF ART TO SHAPE KNOWLEDGE AND FORM THAT NEGOTIATION WITH ART ARE THE BASES FROM WHICH %XACT )MAGINATION OPERATES 0ARTICULAR ATTENTION TO THE VIEWER IS THREADED THROUGHOUT THE COLLECTION OF ARTWORKS AND SOCIAL EXCHANGES GATHERED TOGETHER FOR THIS EXHIBITION CONSIDERING NOT ONLY HOW THE ART INSTITUTION SOLICITS RESPONSE FROM VIEW ERS BUT HOW THE VIEWER EXPERIENCES AND ENGAGES WITH ART AND AN EXHIBITION )N ITS CONSIDERATION OF THESE TOPICS %XACT )MAGINATION RELIES SIGNIlCANTLY ON THE INSIGHTFUL AND WITTY CRITICISMS OF INSTITUTIONAL CRITIQUE AND $ADAISM IN AS MUCH AS THOSE ART FORMS COUNTER THE ART ESTABLISHMENT QUESTION ITS AUTHORITY AND ABDICATE TRADITIONAL MODES OF ARTISTIC PRODUC TION AND EXHIBITION DISPLAY

!N INCREASINGLY USED MODEL OF CURATORIAL PRACTICE INVOLVES WHAT HAS BEEN CALLED NEW INSTITUTIONALISM .EW INSTITUTIONALISM REDUCES EMPHASIS ON THE TRADITIONAL EXHIBI TION MODEL OF DISPLAY AS WE KNOW IT AND PLACES GREATER FOCUS ON THE PRODUCTION OF ART AND SOCIAL EXCHANGE 4HIS MODEL INCORPORATES RESIDENCIES FOR ARTISTS AND ORGANIZES PLATFORMS OF SOCIAL ENGAGEMENTS SUCH AS LECTURES SEMINARS AND CON VERSATIONS THAT DO NOT USUALLY CONFORM TO TYPICAL EXHIBITION FORMATS AND CALENDARS #OMPARED WITH THE TIDY NICELY PACK AGED EXHIBITION OF THE WHITE CUBE WITH DElNITE DATES CHECK LIST OF ARTWORKS AND ROTE SET OF ACCOUTREMENTS LIKE CATALOGUE

LABELS AND OPENING RECEPTION THE EXHIBITION ORGANIZED BY THE NEW INSTITUTION CAN BE OPEN ENDED SOMETIMES OFF SITE AND DOES NOT ALWAYS STRIVE TOWARD A lNISHED PRODUCT OR PROVIDE AN IMMEDIATE CONCLUSION 3OCIAL ENGAGEMENT IS AN IMPORTANT COMPONENT OF THE NEW INSTITUTION EXHIBITION MODEL /N ONE HAND IT CAN BE ORGANIZED BY THE INSTITUTION AND TAKE THE FORM OF DIALOGUES AMONG ARTISTS CURATORS AND VISITORS IN A PUBLIC FORUM THAT OFFERS EQUAL FOOTING FOR EACH PARTICIPANT /N THE OTHER HAND

DIALOGICAL EXCHANGE IS REPRESENTATIVE OF AN ARTISTIC DISCIPLINE THAT CAN AT TIMES ABANDON ALTOGETHER THE ART OBJECT AND ADOPT COMMUNITY INTERVENTIONS CONVERSATIONS GATHERINGS WORK SHOPS SEMINARS DINNERS AND EVENTS IN NON ART SETTINGS AS PRIMARY MEANS OF ARTISTIC INTERACTION WITH THE WORLD 4HESE EXHIBITIONS ARE SOMETIMES ADVOCACY BASED AND GIVE ARTISTS AS MUCH LEEWAY AS POSSIBLE TO COMPLETE THEIR WORK WHICH SEEKS OFTEN TO LEAVE A POSITIVE TRACE IN THE COMMUNITY (OSTED BY THE $IA !RT &OUNDATION IN .EW 9ORK #ITY -ARTHA 2OSLER S )F 9OU ,IVED (EREx IS A NOTABLE FORERUNNER OF THIS TYPE OF EXHIBITION MODEL IN WHICH CREATIVE LICENSE FOR EXHIBITION PLANNING AND PROGRAMMING WAS LEFT TO THE ARTIST -ADE UP OF THREE GROUP EXHIBITIONS FOUR PUBLIC FORUMS AND A PUBLICATION

2OSLER S PROJECT EXAMINED ISSUES OF HOMELESSNESS URBANISM

HOUSING AND URBAN PLANNING 4ODAY NEW INSTITUTIONALISM EMBRACES THE COM PLEXITIES OF CONTEMPORARY ARTISTIC PRACTICES LIKE 2OSLER S THAT ADDRESS A WIDE RANGE OF SOCIAL CULTURAL POLITICAL AND ENVIRONMENTAL ISSUES IN A NUMBER OF DIFFERENT WAYS AND

MEDIUMS WHICH INCLUDE OBJECTS AS WELL AS SOCIAL THEORY PRACTICES !S SUCH THE CONVENTIONAL MODE OF EXHIBITION IS DESTABILIZED HERE AND THE VISITOR BECOMES A FULL ON AGENT IN THE MAKING OF AN EXHIBITION )N THE NEW INSTITUTIONALISM MODE VISITORS ARE ASKED TO LITERALLY PARTICIPATE NOT NECES SARILY BY VIEWING ONLY OBJECTS IN A GALLERY BUT BY BECOMING AN ACCOUNTABLE PART OF THE ART IN ARTISTICALLY CONCEIVED SOCIAL ARENAS 4HIS DIRECT INTERACTION WITH THE VIEWER BEGAN WITH $ADAISM AND WAS EXPANDED WITH ART PRODUCED DURING THE S AND @ S IN GALLERY BASED PERFORMANCES AND INSTALLA TIONS )T CAN BE BENElCIAL TO REMOVE AS MUCH AS POSSIBLE THE ART INSTITUTION FROM THIS MILIEU AS THESE MODELS OF ENGAGE MENT ARE IDEALLY ORGANIZED OFF SITE OUTSIDE THE SPHERE OF THE TRADITIONAL EXHIBITION SPACE %VEN SO IT IS IMPOSSIBLE FOR ARTISTIC PRACTICE TO COMPLETELY EMANCIPATE ITSELF FROM THE INSTITUTION OF ART 4HIS PRECISE QUANDARY HAS OCCUPIED MUCH DEBATE ON INSTITUTIONAL CRITIQUE AS !NDREA &RASER CONTENDS !RT IS ART WHEN IT EXISTS FOR DISCOURSES AND PRACTICES THAT RECOGNIZE IT AS ART VALUE AND EVALUATE IT AS ART AND CONSUME IT AS ART WHETHER AS OBJECT GESTURE REPRESENTA TION OR ONLY IDEA 4HE INSTITUTION OF ART IS NOT SOMETHING EXTERNAL TO ANY WORK OF ART BUT THE IRREDUCIBLE CONDITION OF ITS EXISTENCE AS ART .O MATTER HOW PUBLIC IN PLACEMENT

IMMATERIAL TRANSITORY RELATIONAL EVERYDAY OR EVEN INVIS IBLE WHAT IS ANNOUNCED AND PERCEIVED AS ART IS ALWAYS ALREADY INSTITUTIONALIZED SIMPLY BECAUSE IT EXISTS WITHIN THE PERCEPTION OF PARTICIPANTS IN THE lELD OF ART AS ART A PERCEPTION NOT NECESSARILY AESTHETIC BUT FUNDAMENTALLY SOCIAL IN ITS DETERMINATION )NDEED &RASER OPERATES NOT IN OPPOSITION TO THE INSTITUTION BUT WITHIN IT OPENLY RECOGNIZING HER COMPLICIT ROLE IN THE SYSTEM .EW INSTITUTIONALISM RESPONDS TO THIS PREDICA MENT )N LIGHT OF THE AWKWARD CANONIZATION OF INSTITUTIONAL CRITIQUEˆA FORM OF ART THAT ORIGINATED IN OPPOSITION TO THE INSTITUTIONˆTHE TERM COULD EVENTUALLY BE LEFT BEHIND ALTO GETHER IN EXCHANGE FOR NEW INSTITUTIONALISM 4HE INTEGRATIVE APPROACH TO ORGANIZING EXHIBITIONS UNDER THE MODEL OF NEW INSTITUTIONALISM ENCOURAGES PRODUCTION OF AN ART FREE FROM

THE INmUENCE OF THE INSTITUTION WHILE STILL NO DOUBT WORK ING WITHIN IT )N THIS MANNER NEW INSTITUTIONALISM BECOMES ANOTHER WAY TO CONTINUE THE CRITICAL DISCOURSE OF INSTITUTIONAL CRITIQUE IN A FORM THAT REmECTS THE CHANGING SOCIOCULTURAL

POLITICAL ECONOMIC AND ARTISTIC INmUENCES TODAY WHILE KEEP ING THAT DISCOURSE RELEVANT AND VITAL IN THE lELD OF ART 4HE DOUBLE AGENT IN THE NEW INSTITUTION IS THE CURATOR IN THE RISE OF A CURATORIAL PRACTICE THAT SIMULTANEOUSLY ACKNOWLEDGES THE EFFECT OF THE ART INSTITUTION AND RECOGNIZES THE INEXTRI CABLE TIES TO IT BUT WORKS FROM WITHIN IT TO NURTURE A PURE

UNDILUTED ENCOUNTER WITH ART %XACT )MAGINATION INCLUDES TWO ARTIST COLLECTIVES . AND 2ED WHOSE PRACTICES ASK FOR PHYSICAL PARTICIPATION FROM THE VIEWER AND REPRESENT THE FORMS OF ART GENERALLY ADOPTED BY CURATORS OPERATING IN THE NEW INSTITUTION %8!#4 )-!').!4)/. IS ABOUT THE EXPERIENCE OF ART HOWEVER ONE MAY HAVE IT VIA GALLERY EXHIBITIONS SOCIAL ENGAGEMENTS

BOOKS REPRODUCTIONS ACADEMICS OR SIMPLY BY BEING ALIVE 4AKING ITS INSPIRATION AND TITLE FROM THE &RANKFURT 3CHOOL PHILOSOPHER 4HEODOR !DORNO AND HIS ANALYSIS OF AESTHETIC EXPERIENCE IN WHICH HE ARGUES THAT SUBJECTIVE AND OBJECTIVE FORCES COLLIDE TO DETERMINE A VIEWER S PERCEPTUAL RECEPTION OF ARTˆHOW IT MAKES THEM FEEL WHAT THEY TAKE AWAY FROM IT WHAT THEY DRAW UP INSIDE OF THEM TO RELATE TO ITˆTHIS EXHIBITION INCLUDES ART THAT ENCOURAGES BOTH CONCRETE AND IMMATERIAL AESTHETIC EXPLORATIONS 7ITH THIS IN MIND %XACT )MAGINATION INVESTIGATES THE AUTHORITY OF THE INSTITUTION AND ITS EFFECT ON THE VIEWER )T PROVIDES CONDITIONS FOR EXPERIENC ING THE WAY INSTITUTIONAL DEVICES LEVERAGE REACTIONS TO ART IN DIVERGENT FORMS OF ENCOUNTERS EITHER BY INSPIRING AN INTERNAL AESTHETIC RESPONSE TO ART OBJECTS AS DOES ANY EXHIBITION OR WORK OF ART OR BY REQUIRING FROM VIEWERS LITERAL PARTICIPATION IN SOCIAL EXCHANGES 4HE ARTISTS IN THIS EXHIBITION EXAMINE WITH CRITICISM AND HUMOR THE INSTITUTIONALIZATION OF ART EXHIBITION MAKING ACADEMIC PRODUCTION ARTISTIC RESISTANCE AND A WIDE RANGE OF OTHER INmUENCES THAT AFFECT HOW PEOPLE GET ACCESS TO READ ABOUT STUDY VIEW REmECT UPON AND BRING FORTH AN IMAGINATIVE RESPONSE TO ART

*$</(1 *(5%(5©6 "!#+$2/03 ASK VISITORS TO PARTICIPATE IN THE FULlLLMENT OF HIS WORKS OF ART WHETHER THEY REALIZE IT OR NOT "ACKDROPS ARE LARGE SCALE PAINTINGS ON CANVAS MONO CHROMATIC AND SITUATION SPECIlC 4HESE DISCREET WORKS OF ART REPLICATE EXACT DIMENSIONS AND SOMETIMES THE COLOR OF AN EXISTING WALL IN AN EXHIBITION SPACE 7HILE THE THEORETICAL BASIS OF A "ACKDROP INVESTIGATES THE STRUCTURAL AND MATERIAL CONDITIONS OF A GALLERY SPACEˆTHE SPATIAL CONTAINERˆAND HOW THESE AFFECT THE PRESENTATION AND RECEPTION OF ART THE PLANNING AND MAKING OF THE WORK INVARIABLY PULLS 'ERBER INTO THE ART INSTITUTION AND ITS VARIOUS EXHIBITION MAKING MECHA NISMS $UE TO THE OBVIOUS RELIANCE ON A PHYSICAL WALL IN A GALLERY FOR EXHIBITING ART A "ACKDROP VISUALLY DOMINATES AN INSTALLATION WHILE PARADOXICALLY DEmECTING SPECIlC AUTHORSHIP OR ATTENTION IN THE VERY NATURE OF ITS ADOPTION OF THE UBIQUITOUS SERVICE ROLE $IALECTIC RELATIONSHIPS BETWEEN 'ERBER S PAINTING AND OTHER WORKS OF ART ARE MADE BY WAY OF APPROPRIATION AND COOPERATION )NDEED 'ERBER COOPERATES WITH OTHER ARTISTS IN THE EXECUTION OF HIS PAINTING BY EXHIBITING THEIR ART ON OR IN FRONT OF HIS 4HE ARTWORK SELECTED BY THE EXHIBITION CURATOR IS INSTALLED IN CONJUNCTION WITH A "ACKDROP OR 'ERBER MAY INTRODUCE AN ENTIRELY NEW ARTIST INTO THE MIX WHOSE WORK EN COURAGES A SPECIlC DIALOGUE

)N REALIZING A "ACKDROP 'ERBER TRANSCENDS FREELY THE ROLES OF ARTIST CURATOR AND A NETWORK OF OTHER POSITIONS IN THE EXHIBITION MAKING SYSTEM (E NEGOTIATES WITH STRUCTURAL ASPECTS OF A WALL IN AN EXHIBITION SITE AS WELL AS WITH OTHER ARTWORKS (E ALSO ENGAGES WITH FACETS OF THE INSTITUTION OF ART SUCH AS ARTISTS CURATORS COLLECTORS DEALERS BUDGET

ART HANDLERS AND SO FORTH IN A DANCE THAT DELICATELY BAL ANCES ARTISTIC VISION AND EGO WITH RENUNCIATION OF AUTHORIAL INTENTIONALITY (IS TITLING OF THESE PAINTINGS AS h"ACKDROPSv IMPLIES A PASSIVE ROLE WHILE THEIR ABSOLUTELY INTEGRAL PLACE IN THE EXHIBITION IS NONNEGOTIABLE /NE COULD EVEN ARGUE THAT 'ERBER PLAYS WITH AND CHALLENGES THE lELD OF CONTEM PORARY ART IN ITS COMPLICITY TO UNDERTAKE CONSTRUCTION OF LARGE CANVASES TO COVER GALLERY WALLS OF THE SAME DIMENSIONS AND SOMETIMES THE SAME COLOR /NE MIGHT ASK DOESN T THE EXIST ING GALLERY WALL SUFlCE AS A READY MADE FRAMING DEVICE OF THE INSTITUTION 4HIS IS JUST ONE OF THE NUMEROUS QUESTIONS 'ERBER RAISES WITH A "ACKDROP 7HEN PLANS FOR THE INSTALLA TION ARE SETTLED HE TURNS OVER A METICULOUS SET OF GUIDELINES FOR BUILDING THE WORK RELIEVING HIMSELF OF THE CONSTRUCTION PROCESS AND EXITING FROM THE VARIOUS EXHIBITION MAKING ROLES INHABITED TEMPORARILY "ACKDROP %XACT )MAGINATION IS A X FOOT GRAY

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PAINTING VISIBLE THROUGHOUT THE EXHIBITION SITE 7HILE 'ERBER COOPERATED WITH EACH EXHIBITION PARTICIPANT TO REALIZE THIS PAINTING THE COLLECTIVE 2ED S ARTISTIC RESISTANCE mIERS FROM THE SERIES &REE !RT (ISTORY ARE SCATTERED ON THE mOOR FREE FOR THE TAKING IN DIRECT PROXIMITY TO "ACKDROP %XACT )MAGINATION 4HIS PARTICULAR COLLABORATION BRINGS TOGETHER ARTISTIC PRACTICES THAT ELICIT VISITOR PARTICIPATION IN TWO DIVERGENT WAYS 'ERBER WITH DEVICES THAT ENCOURAGE INTERNAL AESTHETIC EXPLORATIONS AND 2ED WITH SOCIAL EXCHANGE DISCUSSED BELOW !N ACTUAL GALLERY WALL BUILT PERPENDICULAR TO "ACKDROP %XACT )MAGINATION DIVIDES IT INTO TWO SECTIONS 4HAT WALL EMBEDS VISUALLY AND PSYCHOLOGICALLY 'ERBER S WORK INTO THE EXHIBITION SITE OBSCUR

ING IT EVEN FURTHER FROM VISITORS ATTENTION THUS STRENGTHENING ITS CLANDESTINE ROLE IN THEIR AESTHETIC EXPERIENCE &+5,67,$1 -$1.2:6.,©6 9,'(2 &,/#+ ACCOMPANIES "ACKDROP %XACT )MAGINATION ON THE OPPOSITE SIDE OF THE PER PENDICULAR GALLERY WALL )N &LOCK *ANKOWSKI CONSIDERS THE RE LATIONSHIP BETWEEN THE ARTIST THE GALLERY AND THE VISITOR )N THE VIDEO TWELVE VIEWERS OF AN EXHIBITION PREVIEW EXPERIENCE A VERY UNIQUE FORM OF PARTICIPATION A MAGICIAN SYSTEMATICALLY TURNS EACH AND EVERY ONE OF THEM INTO SHEEP BEFORE THEY ENTER THE GALLERYˆEN MASSE /NCE INSIDE THE SHEEP WANDER PAST WORKS

&KULVWLDQ -DQNRZVNL )ORFN

OF ART TAKING CURSORY LOOKS HERE AND THERE 4HEY CONGREGATE IN PARTS OF THE EXHIBITION SPACE AND WITHIN THIS SETTING APPEAR TO CHITCHAT AS IF IT IS JUST ANOTHER OPENING RECEPTION 4HEY GIVE ATTENTION ONLY TO EACH OTHER IGNORING THE ART &LOCK IS A HUMOR OUS AND INSIGHTFUL OBSERVATION OF THE SOCIAL DYNAMICS OF THE CONTEMPORARY ART WORLD IN WHICH CONSTITUENTS SOMETIMES PLACE GREATER ONUS ON THE ENTERTAINMENT THAN THE WORKS OF ART *ANKOWSKI S VIDEOS AND INSTALLATIONS ESCHEW BOUND ARIES BETWEEN ART AND REALITY )N &LOCK HE USES THE POWER OF THE MOVING IMAGE TO BREAK CONCEPTUALLY A lSSURE INTO WHICH WEˆTHE VIEWERS WATCHING THE VIEWERSˆHAVE A MOMENTARY PEEK AT THAT SPACE BETWEEN REALITY AND ILLUSION 4HE ILLUSION OF MAGIC IS AMPLIlED BY THE USE OF VIDEO A MEDIUM THAT

*ANKOWSKI FREQUENTLY TURNS ON THE SOCIAL SPHERE OF THE lELD OF ART AND THE MEDIA #ONCERNED MORE WITH PROCESS OVER lNISHED PRODUCT HIS PRACTICE EXPLOITS THE UNPREDICTABLE OUTCOMES OF WORKING WITH NONACTORS OR AMATEURS TO PRODUCE ARTWORKS TYPI CALLY UNSCRIPTED OR AT LEAST WITH MINIMAL DIRECTION *ANKOWSKI UNCOVERS THE SPONTANEITY AND RANDOMNESS OF LIFE AND LEAVES VIEWERS WITH A RENEWED SENSE OF PERSPECTIVE )N &LOCK THE GAL LERY GOING VISITORS RETURN EVENTUALLY TO THEIR HUMAN FORMS AND THE ADVENTURE BECOMES A CIRCUITOUS EXPERIENCE 7E ARE PRIVY TO THAT ILLUSION WITNESSES TO A TEMPORARY COLLAPSEˆA JOLT OR AN AGGRAVATIONˆOF SOCIAL ORDER IN AN OTHERWISE AUSTERE RElNED GALLERY SYSTEM 4HE COMMON SCENE OF AN OPENING RECEPTION IS SUDDENLY COATED WITH REFRESHING NEW MEANING 7+( %5,7,6+ &2//(&7,9( %$1. PRODUCED MORE WIDESPREAD

INTENSE AND REAL LIFE FORMS OF AGGRAVATION FOR THE ESTABLISHED CONTEMPORARY ART SCENE !CTIVE IN ,ONDON THROUGHOUT THE S AND EARLY S "!.+ INCLUDED REVOLVING MEMBERS 3IMON "EDWELL $AVE "URROWS $INO $EMOSTHENOUS *OHN 2USSELL -ILLY 4HOMPSON AND !NDREW 7ILLIAMSON "EDWELL AND 2USSELL FELL INTO COLLABORATION FOLLOWING GRADUATION FROM ART SCHOOL WHEN THEY WERE THRUST INTO THE PERIOD OF TREPIDATION THAT YOUNG ARTISTS FACE SIMULTANEOUSLY REPELLED AND ALLURED BY THE WORLD OF CONTEMPORARY ART -AKING FUN OF THE ART WORLD AND PLAYING TRICKS WITH ILLUSION AND REALITY THE ARTISTS lRST ANTIC INCLUDED MAILING INVITES FOR COMPLETELY lCTIONAL EXHIBITIONS TAKING PLACE AT VERY REAL EXHIBITION SITESˆTO THE ANNOYANCE OF THE COMMERCIAL ESTABLISHMENT 4HE COLLECTIVE S NAME ORIGINATES FROM ITS lRST EXHIBI TION CALLED "!.+ HELD IN IN A DISUSED BANK BUILDING &ROM THAT POINT THE NAME STUCK AND THE BULK OF THEIR ACTIVITY FOCUSED ON ORGANIZING ALMOST THIRTY EXHIBITIONSˆWITH AND WITHOUT "!.+ ARTISTSˆDURING THEIR EXISTENCE )N MANY CASES

THESE PROJECTS BLATANTLY DEPLOYED THE EXHIBITION FORMAT AS A PART OF "!.+ S ARTISTIC MODUS OPERANDI PERIODICALLY MAKING SATIRICAL COMMENTARY ON THE hCURATION EGO AND ALL ITS TRAP PINGS v /PERATING COUNTER TO THE COMMERCIAL EXHIBITION SYS TEM THE COLLECTIVE ORGANIZED SHOWS LIKE #/#!).% /2'!3 &5#+ /&& $/' 5 -%.4!, 6)))

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SOMETIMES VITRIOLIC BUT ALWAYS lLLED WITH ENERGY VITALITY AND ORIGINALITY "!.+ S EXHIBITIONS AND TABLOID PUBLICATIONSˆWITH HEADLINES LIKE #RAP ,ONDON IS /VER %XACTLY (OW -UCH $O 9OU 7ANT 4URNER 0RIZE "EAUTY 0AGEANT AND 'ALLERIES @!LL /WNED BY 2ICH 0EOPLE 3HOCKˆCHALLENGED EXCLUSIONARY CONDITIONS OF THE lELD OF CONTEMPORARY ART 4HE EXHIBITIONS APPEARED AT A RANGE OF LOCATIONS SOME OF WHICH REMAINED NAMELESS AND OTHERS THAT WERE CALLED "!.+30!#% $/'

AND 'ALLERIE 0OO 0OO OVER THE COURSE OF "!.+ S EXISTENCE 4HE COLLECTIVE S LAST EXHIBITION AT 'ALLERIE 0OO 0OO

02%33 2%,%!3% GATHERED TOGETHER WORK FROM THE PROJECT 4HE "!.+ &AX "AK 3ERVICE &OR IT THE MEMBERS OF "!.+ GRADED GALLERY PRESS RELEASES THAT INCLUDED EDITING

CORRECTING GRAMMAR COMMENTING ON LAYOUT AND DESIGN

OFFERING OPINIONATING REVIEWS OF THE DOCUMENTS AND FAXING THE MARKED UP VERSIONS BACK TO GALLERIES OF ORIGIN 4HIS FREE ADVICE SERVICE COMPLETE WITH BRANDING LOGO AND TAGLINE

h(ELPING 9OU (ELP 9OURSELVES v OPERATED FOR OVER A YEAR )T LEFT FEW GALLERIES IN ,ONDON AND .EW 9ORK UNSCATHED FROM CRITICISM OF THE ART SPEAK AND LOFTY BOURGEOIS PRETENSION USED SOMETIMES TO PUBLICIZE EXHIBITIONS ! VAGUE NOTION OF SELF PARODY COMBINED WITH DEAD ON CRITIQUE OF ALIENATING CULTURE SPEAK MAKE THE &AX "AK WORKS HILARIOUSLY SUCCESS FUL CERTAINLY DUMBFOUNDING AND AGGRAVATING GALLERIES ON THE RECEIVING END )N FACT A FAX BACK BY &EIGEN #ONTEMPORARY IN RESPONSE TO A &AX "AK CAN ATTEST TO IT .O DOUBT FRUSTRATED

THE GALLERY RESPONDED h0,%!3% 34/0 7!34).' /52 4)-% 7)4( 9/52 !$/,%3#%.4 ).!.% #/--%.4!29 '/ !7!9 $/ ./4 #/.4!#4 53 !'!). v '$'$,67 6$7,5( ,521< 8135(',&7$%/( 7$&7,&6 AND UNCONVENTIONAL MATERIALS SERVE TO CHARACTERIZE THE ART OF $AVID )RELAND 5SING ARCHITECTURE INSTALLATIONS ACTIONS

DRAWINGS AND OBJECTS TO CHALLENGE DISTINCTIONS BETWEEN ART NON ART AND EVERYDAY LIFE )RELAND CHARGES EXHIBITION SITES WITH QUIZZICAL REFERENCES AND SITUATIONS FOR VISITORS TO PONDER AND DECIPHER (IS INTEREST IN PROCESS CHANCE AND

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AND BENEFACTORS OF THE PROJECTS AND BY EXTENSION INSERT ART INTO THE PUBLIC SPHERE 4HE PRIMARY ROLE OF THESE PERSONS IS DESCRIBED IN . S STATEMENT h!RT AND 2EALITY v 0ART ARTIST STATEMENT PART SWEEPING PHILOSOPHY ON ART AND LIFE h!RT AND 2EALITYv DRAWS ATTENTION TO AUTHORSHIP

SIGNIFYING THE ARTIST OR COLLECTIVE AS THE PRIMARY ORIGIN OF ARTIS TIC SUBJECT %XACT )MAGINATION REPRODUCES h!RT AND 2EALITYv IN THIS CATALOGUE AND INSTALLED IN VINYL LETTERING ON A X FOOT WALL IN THE EXHIBITION SITE )T IS AN EXAGGERATED AND ALTERNA TIVE KIND OF INTRODUCTORY WALL TEXT THAT TRADITIONALLY CONFRONTS VISITORS AT EXHIBITION ENTRANCES &ORGOING THE TYPICAL MODEL OF THAT EXHIBITION MAKING COMPONENT %XACT )MAGINATION PUSHES ASIDE THE INSTITUTION S VOICE IN TEXT AND GIVES IMPORT OF PLACE TO THE ARTIST IN LIEU OF IT . OPERATES LARGELY ON THE MARGINS OF THE ART INSTITUTION OUTSIDE TRADITIONAL COMMERCIAL FRAMEWORKS

SUPPORTED IN SOME CASES BY CURATORIAL PRACTICES OF NEW INSTITUTIONALISM 4HE COLLECTIVE PRODUCES ART WITH THE VIEWER CUM USER AS A REQUISITE OF THE FULlLLMENT OF THEIR WORK 4HIS ESSAY IS BOOKENDED BY DESCRIPTIONS OF ARTISTIC PRACTICES THAT ENCOURAGE ENGAGEMENT WITH ART THROUGH DIVERGENT MEANS BUT WITH EQUAL EMPHASIS ON THE VIEWER 'AYLEN 'ERBER S "ACKDROP %XACT )MAGINATION ON ONE HAND BRINGS IN VIEW ERS TO EXPLORE AESTHETIC RELATIONSHIPS INTERNALLY AND INDE PENDENTLY RESPONDING TO ART THAT MAKES THEIR PARTICIPATION CRUCIAL TO A lNAL REALIZATION OF HIS WORK !RTISTS LIKE . AND THE 0ORTLAND /REGON BASED COLLECTIVE 2ED LITERALLY ASK FOR PHYSICAL EXCHANGE FROM VISITORS WHERE THEY BECOME AGENTS THAT HELP TO FORGE THE ART TO FRUITION 5(' 86(6 62&,$/ (;&+$1*( COMMUNITY BASED PROJECTS

mIERS POSTERS PUBLICATIONS THE )NTERNET E MAIL AND BLOGS THAT BRING PARTICIPANTS INTO WORKSHOPS EVENTS CONVERSATIONS AND ACTIONS TO FUEL AN ARTISTIC PRACTICE THAT STIMULATES POLITICAL AND CULTURAL CHANGE 3PEARHEADED BY 3AM 'OULD THE COLLECTIVE DRAWS ON MODELS OF RESISTANCE IN ART AND POLITICAL HISTORIES TO INmUENCE A DIALOGICAL PRACTICE THAT IS VERY MUCH ROOTED IN THE PRESENT 2ED S CONTRIBUTION TO %XACT )MAGINATION IS TWO FOLD

)N THE EXHIBITION SITE ARE mIERS AND A VIDEO FROM THE PROJECT &REE !RT (ISTORY 4HE PREMISE OF THIS PROJECT IS SIMPLE BUT EFFECTIVE 3EEKING TO MAKE INFORMATION ABOUT ART AND HISTORY MORE READILY ACCESSIBLE TO THE PUBLIC THE COLLECTIVE PHOTOCOPIED HANDMADE mIERS ABOUT KEY lGURES AND MOVEMENTS WITH A PARTICULAR FOCUS ON ARTISTIC RESISTANCE 3OME OF THE SUBJECTS IN THE mIERS INCLUDE THE EXHIBITION #HINA !VANT GARDE WHICH OPENED IN &EBRUARY AT THE .ATIONAL 'ALLERY IN "EIJING %D 3ANDERS AND HIS JOURNAL &5#+ 9/5 A MAGAZINE OF THE ARTS THE PEACE CAMPAIGN OF 9OKO /NO AND *OHN ,ENNON THE "RITISH PUNK BAND #2!33 AND ITS INSTIGATION OF 4HATCHERGATE AND 2ENÏE *EANNE &ALCONETTI AND THE STORY OF HER POWERFUL

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PERFORMANCE IN THE SILENT lLM 4HE 0ASSION OF *OAN OF !RC 4HE VIDEO DOCUMENTS 2ED DISSEMINATING COPIES OF THESE mIERS AND OTHERS THROUGHOUT #OLUMBUS /HIO AT LAUNDROMATS GROCERY STORES CAFÏS SECURITY OFlCES RETAIL CHAINS COFFEE SHOPS AND ON STREET POSTS &REE !RT (ISTORY IS A FORM OF ARTISTIC ANARCHY WHICH THE mIERS THEMSELVES EMBODY SPREADING INFORMATION ABOUT ART AND ITS LEGACY OF REACTION AGAINST CULTURAL AND SOCIETAL UPHEAVALS )N ADDITION TO PUTTING THIS INFORMATION INTO THE PUBLIC REALM INCORPORATED WITHIN THESE mIERS AND ACTIONS IS A CRITIQUE ON TODAY S LIMITED ACCESS TO ART HISTORY IN THE HIGH COSTS OF ILLUSTRATED TEXTS AND RISING ENTRANCE FEES TO MUSEUMS THAT PROHIBIT WIDESPREAD

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KNOWLEDGE ABOUT AND EXPERIENCE OF ART !NOTHER HISTORY IN THE &REE !RT (ISTORY SERIES IS THE COPY POLICY OF THE OFlCES OF THE 6IETNAM $AY #OMMITTEE IN "ERKELEY #ALIFORNIA IN THE MID S 4HE 6$# HELD AN OPEN COPY POLICY MEANING THAT ALONG WITH POSTERS AND INTERNAL MEMORANDA THE GROUP NEEDED TO MAKE THE PUBLIC WAS ENCOURAGED TO COME AND USE THE 6$# S MIMEOGRAPH MACHINE TO MAKE mIERSˆFOR PROTESTS USED BIKES FOR SALE ROOMMATES WANTED WHATEVER &REE BEER WAS AVAILABLE AT THE OFlCE TOO 4HE ONLY CATCH BEFORE LEAVING EACH mIER WAS STAMPED WITH A 6$# LOGO AND BECAME AN ANTI WAR STATEMENT 4HE COPY CENTER EVOLVED INTO A CENTER FOR COMMUNITY IN WHICH PEOPLE GATHERED TO DISCUSS A RANGE OF POLITICAL AND SOCIAL ISSUES OF THE DAY 2ED S &RANKLIN S 6$# #OPY #ENTER REVISITS THE RADICAL ACTIVITIES OF "ERKELEY S 6$# AS A MEANS TO RAISE AWARENESS AND GENERATE VISIBILITY OF POLITICAL SOCIAL AND CULTURAL ORGANIZATIONS WORKING TODAY IN #OLUMBUS AND BEYOND 'ROUPS LIKE #OLUMBUS &OOD .OT "OMBS &REE'EEK #OLUMBUS

)RAQ 6ETERANS !GAINST THE 7AR -!0 &URNITURE "ANK 4HIRD (AND "ICYCLE #O OP 3PORE 0RINT )NFOSHOP AND 6AN 'ALLERY ARE SOME OF THE ORGANIZATIONS REPRESENTED ON A ROTATING BASIS IN THE COPY CENTER WHICH IS LOCATED TEMPORARILY IN A FORMERLY UNUSED STOREFRONT SPACE ON A BUSY DOWNTOWN STREET %ACH ORGANIZATION MAY USE THE COPIER FOR THEIR PURPOSES $URING THE RUN OF THE EXHIBITION THE PUBLIC MAY ALSO USE THE COPY CENTER FREE OF CHARGE BUT ALL PHOTOCOPIES PRODUCED ARE GIVEN A STAMP PROMOTING THE GROUP THAT OCCUPIES THE SPACE AT THAT GIVEN TIME 4HE HIGH VISIBILITY OF THIS URBAN SPACE PROVIDES SIGNIlCANT PUBLIC EXPOSURE FOR THESE ORGANIZATIONS 4HE COPY CENTER IS A SITE FOR CONVERSATIONS GATHERINGS

WORKSHOPS LECTURES AND lLM SCREENINGS PERTAINING TO EACH ORGANIZATION DURING THE COURSE OF %XACT )MAGINATION GIVING 2ED CREATIVE FREEDOM AND REMOVAL FROM THE INSTITUTION OF ART AS MUCH AS POSSIBLE TO PRODUCE A NEW PHYSICAL TERRAIN AND SOCIAL SPACE !S A MEANS OF OPENING UP DEBATE AROUND CONTEMPORARY CULTURAL ISSUES 2ED CREATED THIS TEMPORARY PLACE FOR PUBLIC RESEARCH OUTSIDE OF ACADEMIC AND INSTITUTIONAL FRAMEWORKS DRAWING ON !MERICA S RADICAL SOCIAL PAST AND REINVIGORATING IT FOR CURRENT PUBLIC DISCOURSE !NYBODY WITH

ANYTHING TO SAY OR SHARE IS INVITED TO PARTICIPATEˆh/PEN FOR !NYTHING 'OOD FOR .OTHING v &RANKLIN S 6$# #OPY #ENTER AND 2ED ARE THE PROJ ECTS AND ARTISTIC PRACTICES THAT mOURISH IN THE EXHIBITION MODEL OF THE NEW INSTITUTION IN WHICH SOCIAL EXCHANGE IS THE ART AND THE ART IS THE SOCIAL EXCHANGE WHERE ALL VIEWERS ARE INHERENTLY PARTICIPANTS EXERCISING THEIR IMAGINATION IN RESPONSE TO THE TRANSFORMATIVE EFFECT OF ART

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