I am stepping back in time—to the locus of art exhibitions past. Specifically, I recently traveled in my mind to October 2012 and revisited my experience at Jaus’ exhibition titled, Case Study Los Angeles II: On the Perimeter.
Encountering artist produced take a ways; posters, reams of paper stacked in a minimalist cube, stickers, candy and other ephemera, I gladly participate and complete the chain. At Jaus, I was initially thrown off by L.A. based artist Kyle Riedel’s gift-wrapped wood bundles; signed and numbered in an edition of 100. I had never seen anything like them. How pretentious I thought! How sly! How cynical! Then, How generous! What a gift! The pile of utilitarian sculpobjects served two months ahead of Christmas or other holiday observed in December or January lay stacked underneath Riedel’s deceptive image of crumpled papers that embodies photography, drawing, performance and sculpture in one fell swoop. I was overjoyed to pick out the bundle that I thought was the most glamourous, flamboyant and decorative of the bunch. Leopard print, silver, colorful polka dots and a Japanese inspired floral gave the logs a jubilant attitude of pride of place. The closing reception to the exhibit took place near Halloween. Hence, there were some attendees also wrapped in celebratory costume. I was wearing an apron with the likeness of a female in a bikini emblazoned on the plasticky surface that I borrowed from a friend. It was a weak attempt at gender bending I admit.