101 Collection: Route 3
19 Jan - 25 Feb 2012
Jason Meadows
Horizontal Striation Scrap, Lamp and Vertical Striation Scrap Lamp (2009)
wood, paint, lamp hardware
35.25H x 4.25W inches
unique from unlimited series, Kadist 101 Collection
Photo Credit: Johnna Arnold
Horizontal Striation Scrap, Lamp and Vertical Striation Scrap Lamp (2009)
wood, paint, lamp hardware
35.25H x 4.25W inches
unique from unlimited series, Kadist 101 Collection
Photo Credit: Johnna Arnold
101 COLLECTION: ROUTE 3
19 January – 25 February, 2012
Anthony Discenza Meets Mungo Thomson Meets Harrell Fletcher Meets Alicia McCarthy Meets Eleanor Antin Meets Jason Meadows Meets Rodney Graham Meets Pascal Shirley Meets Ari Marcopoulos Meets Paul McCarthy Meets James Welling Meets Catherine Opie Meets Tammy Rae Carland Meets Ed Ruscha
Route 3: Anthony Discenza Meets Mungo Thomson Meets Harrell Fletcher Meets Alicia McCarthy Meets Eleanor Antin Meets Jason Meadows Meets Rodney Graham Meets Pascal Shirley Meets Ari Marcopoulos Meets Paul McCarthy Meets James Welling Meets Catherine Opie Meets Tammy Rae Carland Meets Ed Ruscha is the third exhibition in an annual series to be drawn from the 101 Collection based in San Francisco. It examines the essential nature of an art collection — an accumulation of objects gathered for personal interest, research, or presentation — and attempts to provide an alternative organizational strategy to that of a thematic structure.
The curator, David Kasprzak (MA Curatorial Practice 2011) has completely relinquished the decision-making process, instead inviting the artists in the 101 Collection to select the works themselves. In addition, he delegated his curatorial tasks to colleagues within the Wattis and CCA. The chief preparator, who typically follows the installation plan and instruction of a curator, has installed the exhibition. The institution’s designer has created the graphic identity. All texts have been generated by the institution’s managing editor.
The exhibition is intended as an experiment in structural and organizational strategy, and responds to two questions. Firstly, will a collection of predetermined artworks ultimately produce the same visual and contextual outcome, regardless of the decisions made on a curatorial level? Secondly, what outcome does an exhibition organized by multiple authors working independently of each other produce?
Kasprzak holds an M.A in Curatorial Practice from the California College of the Arts in San Francisco and a B.F.A. in Visual Arts from Columbus College of Art and Design in Columbus, Ohio. Kasprzak’s recent curatorial projects include Better a Live Ass Than a Dead Lion at Eli Ridgway Gallery in San Francisco (2011) and God Only Knows Who the Audience Is at the CCA Wattis Institute for Contemporary Arts, San
19 January – 25 February, 2012
Anthony Discenza Meets Mungo Thomson Meets Harrell Fletcher Meets Alicia McCarthy Meets Eleanor Antin Meets Jason Meadows Meets Rodney Graham Meets Pascal Shirley Meets Ari Marcopoulos Meets Paul McCarthy Meets James Welling Meets Catherine Opie Meets Tammy Rae Carland Meets Ed Ruscha
Route 3: Anthony Discenza Meets Mungo Thomson Meets Harrell Fletcher Meets Alicia McCarthy Meets Eleanor Antin Meets Jason Meadows Meets Rodney Graham Meets Pascal Shirley Meets Ari Marcopoulos Meets Paul McCarthy Meets James Welling Meets Catherine Opie Meets Tammy Rae Carland Meets Ed Ruscha is the third exhibition in an annual series to be drawn from the 101 Collection based in San Francisco. It examines the essential nature of an art collection — an accumulation of objects gathered for personal interest, research, or presentation — and attempts to provide an alternative organizational strategy to that of a thematic structure.
The curator, David Kasprzak (MA Curatorial Practice 2011) has completely relinquished the decision-making process, instead inviting the artists in the 101 Collection to select the works themselves. In addition, he delegated his curatorial tasks to colleagues within the Wattis and CCA. The chief preparator, who typically follows the installation plan and instruction of a curator, has installed the exhibition. The institution’s designer has created the graphic identity. All texts have been generated by the institution’s managing editor.
The exhibition is intended as an experiment in structural and organizational strategy, and responds to two questions. Firstly, will a collection of predetermined artworks ultimately produce the same visual and contextual outcome, regardless of the decisions made on a curatorial level? Secondly, what outcome does an exhibition organized by multiple authors working independently of each other produce?
Kasprzak holds an M.A in Curatorial Practice from the California College of the Arts in San Francisco and a B.F.A. in Visual Arts from Columbus College of Art and Design in Columbus, Ohio. Kasprzak’s recent curatorial projects include Better a Live Ass Than a Dead Lion at Eli Ridgway Gallery in San Francisco (2011) and God Only Knows Who the Audience Is at the CCA Wattis Institute for Contemporary Arts, San