Hammer Projects: Jeanine Oleson: Conduct Matters
06 May - 06 Aug 2017
Jeanine Oleson
Still from Crossed Wires, 2017
Three-channel video, color, sound; 8 min
Image courtesy of the artist
Still from Crossed Wires, 2017
Three-channel video, color, sound; 8 min
Image courtesy of the artist
HAMMER PROJECTS: JEANINE OLESON: CONDUCT MATTERS
6 May – 6 August 2017
Following her residency at the Hammer Museum, Jeanine Oleson will present a new body of work and performance related to conduction as a material, musical, and social matter.
The New York–based artist Jeanine Oleson (b. 1974, Astoria, OR) works with photography, performance, film, video, sound, and installation, exploring themes including audience, language, spirituality, memory, music, and alienation.
Following her recent residency at the Hammer, Oleson presents a work related to research on the conditions of copper usage in late capitalism and the irreconcilable contemporary relationship between bodies, labor, resources, and art. With humor, pathos, and pleasure, the installation includes catalytic instruments and objects that interrelate the body’s function and relationship to materials and representation. It also features a video of an absurdist ensemble performance work based on the production process of copper. A hand-woven rug anchors the project, its composition based on perspectival issues of 3D imaging. The wry sense of humor exhibited in her work belies Oleson’s intellectual rigor and interest in labor, environment, craft, and performance.
6 May – 6 August 2017
Following her residency at the Hammer Museum, Jeanine Oleson will present a new body of work and performance related to conduction as a material, musical, and social matter.
The New York–based artist Jeanine Oleson (b. 1974, Astoria, OR) works with photography, performance, film, video, sound, and installation, exploring themes including audience, language, spirituality, memory, music, and alienation.
Following her recent residency at the Hammer, Oleson presents a work related to research on the conditions of copper usage in late capitalism and the irreconcilable contemporary relationship between bodies, labor, resources, and art. With humor, pathos, and pleasure, the installation includes catalytic instruments and objects that interrelate the body’s function and relationship to materials and representation. It also features a video of an absurdist ensemble performance work based on the production process of copper. A hand-woven rug anchors the project, its composition based on perspectival issues of 3D imaging. The wry sense of humor exhibited in her work belies Oleson’s intellectual rigor and interest in labor, environment, craft, and performance.