Multiple Pleasure

It's a brave new world of interactivity and instant communication - or so we read in the newspaper every morning. New technologies will soon obliterate space and time by making information available anywhere, anytime—at the same time inviting us to tailor it to your whims and needs. Just-in-time delivery and sophisticated robotics move industry away from mass production and back towards the custom-made object.

 

The artists in Multiple Pleasure were chosen because their wo k reflects this world, where the advent of newer, less passive media like the Internet are changing the way we approach the at object. The influence of television on our minds and habits, which inspired so much art about that simulacrum of images, is giving way to an interactive age. The 18 works in this show represent 17 very different artists working over 26 years; but all of them approach the multiple as a possibility, not an afterthought, and invite the viewer to participate in the creation of the work.

 

Multiple Pleasure was put together with the help of Brian Butler.

 

The works included in the exhibition are as follows:

 

ANGELA BULLOCH
Rules Series Edition, 1993
Silk screened on plastic, slip case, metal ring
10 sheets 11 11/16 x 8 1/4 inches (A4 size)
Edition Size: 20
Artist Proofs: 3


The Rules Series Edition emanates from an ongoing project byAngela Bulloch of found rules coming from various actual sources (e.g. an amusement ride at the London's Trocadero, R360 a topless dance club in New York, Baby Doll Saloon; a Russian modeling school, August VIII Model School...). The rules are individual works. The ten rules are silk screened onto 10 sheets of paper. The ten sheets are hole punched in the top right corner and held together by a ring binder and held in a slip cover. The owner's participation with the multiple can vary from simply hanging the work by its ring or by the holes in the paper, to large scale reproduction such as photocopying. The dissemination of the rules are controlled by the owner.

 

MEG CRANSTON
Plunger Candlestick, 1995
Cast bronze and sterling silver plated
3 x 5 1/2 inches in diameter
Edition Size: 24
Artist Proofs: 4


Plunger Candlestick evolved out of an element from Meg Cranston's installation Everyday is Christmas. Cranston has elevated the functional and janitorial rubber plunger to an elegant
object.

 

JESSICA DIAMOND/SOL LEWITT/LAWRENCE WEINER
Do-It-Yourself, 1993
Mixed media
12 x 10 1/2 x 1 inch
Edition Size: Unlimited Edition
Signed Edition: 125


A "Do-It-Yourself" kit containing all the necessary materials, diagrams and instructions for creating your own artwork by Jessica Diamond, Sol LeWitt, and Lawrence Weiner. In a goodhumored way, Do-It-Yourself captures the essence of conceptual art. Each artist has contributed an idea, according to LeWitt "the most important aspect of the work". The execution is left for you to "do-it-yourself". By selecting artists of three successive generations, the project emphasizes the adaptability and strength of the conceptual movement.

 

The elements of Do-It-Yourself are housed in a black cloth-covered box. Jessica Diamond contributes the overhead transparency used to trace her 110" wall work, "Money Dances". Sol LeWitt contributes paper and personalized pencil for the rendering of one LeWitt drawing. Lawrence Weiner delivery his message with a bright yellow stencil MOI + TOI & NOUS.  The label, diagrams, and instruction sheets are printed letterpress on Folio paper by Anne Noonan of Soho Letterpress, NYC.

 

MARK DION
C.I.A. Tool Bag of Dirty Tricks, 1991
Edition Size: 10
Artist Proofs: 3
F.B.I. Tool Bag of Dirty Tricks, 1991
Edition Size: 10
Artist Proofs: 3


The CIA Tool Bag of Dirty Tricks and FBI Tool Bag of Dirty Tricks both contain nine tools entirely covered in liquid rubber with enamel inscriptions naming tactics used by the FBI domestically, and the CIA internationally, in their covert operations, i.e., the paint brush found in the CIA Tool Bad has ithe inscription "fund opposition press", while the mat knife from the FBI Tool Bagis inscribed with "death threats". Each canvas tool bag contains one extra item, the CIA Bag contains a Hawaiian Shirt for working in tropical climes, and the FBI's Plunger refers to the "Plumbers" of the Watergate break-in. Each bag also has the respective organizational crest rubber-stamped on a tag attached to the bag's handle.

 

DAMIEN HIRST

Pharmaceutic Wall Painting, Five Blacks, 1993
Wall painting in enamel paint, to be executed according to the artist's instructions.
Size variable.
Edition Size: 10, each work unique in color combinationwith a signed and numbered certificate.

 

Installation instruction as given in the certificate: "Dimensions variable, depending on the wall. 15 spots to be placed horizontally and 10 spots vertically. All the spots must be of equal size.

 

The size of the spots is equal to the size of the gaps in between them. The spots are to be applied randomly using one of the 150 colors for each spot." The edition can be reproduced as many times as the owner wishes.

 

Components and tools provided: Wooden box containing 150 tins of enamel paint, each color different (except that there are 5 tins of black), 150 brushes, and a compass.

 

MIKE KELLEY

We Communicate Only Through Our Shared Dismissal of the Pre-linguistic, 1995
15 ektacolour prints mounted on museum board, xerox papers and computer disc
24 x 29 inches each
Edition Size: 5

 

The photographs are of paintings by Kindergarten students. Mike Kelley taught elementary school art for one year in the early Seventies; the paintings are ones that he kept from that time.


The texts on the computer are an "analyses" of each student work. The analytic approaches are derived from various art therapy texts he has read. Each photo is accompanied by its analyses, which has been edited in red. These changes are not rewrites, just simple copy editing, but they imply a reconsideration of the validity of the analysis. The viewer is encouraged to rewrite the texts to conform to their personal analytic projections upon the paintings.

 


SOL LEWITT
Wall Drawing, 1992
To be written on wall in the hand of the owner
medium and size to be chosen by the owner
Edition Size: 10, wtih a signed and numbered certificate photo

 

Installation Instructions as given by the artist: "The owner will write the words "Wall Drawing" in his own hand on any wall of choice, in any medium of his choice, in any size of his choice."

 

Certificate: An 8 x 10 inch black and white photograph of the installatin must be sent by the owner to the artist, who will sign, number and return it.

CHARLES LONG
Amorphous Baby, 1995
Lacquer on plastic, Stereolab CD, headphones and jacks
9 x 7 1/2 x 8 1/2 inches
Edition Size: 100

 

Amorphous Baby evolved from a collaboration between Charles Long and the British music group Stereolab. This collaboration resulted in an exhibition entitled "The Amorphous Body Study Center". The sculpture explores the physicality that is latent in music and its distribution. It functions as a body that transfers different ideas and feelings, so when the viewer puts on the headphones, there is an equivalency between one body and another.

 

NAM JUNE PAIK

Sonatine for Goldfish, 1992
TV casing (RCA Victor, 1946), with aquarium
15 1/4 x 19 1/2 x 16 1/2 inches
Edition Size: 12

 

A recurring element in Nam June Paik's work is the television. In this instance he has taken the guts out of the TV set and replaced it with a fish tank to provide an alternative form of
entertainment.


JORGE PARDO
Ten People, Ten Books, 1994
Cloth cover bood with unfoldable velum, architecture plan and 4 inserted velum pedestals
10 1/2 x 7 1/2 inches (& variable)
Edition Size: 10

 

Since 1994, Pardo has been working on a major piece that uses the conceptual properties of painting and sculpture in such a manner that it functions as a house. It is his intention to realize the plans already designed, in the book/sculpture piece Ten People, Ten Books. It is fascinating how one object can have as many intentions as interpretations, how this piece simultaneously functions as a book and architectural plan while incorporating principles of color and geometric form found in painting. Here architecture provides a theoretical framework through these issues and which non conventional elements of painting and sculpture are realized.

 

During the building and upon completion, the house serves the community as an educational location illustrating the concepts of merging art and life. Furthermore it is in keeping with the Los Angeles architectural tradition of blurring the distinction between architecture and sculpture towards public art. And like public art, the design for the house strives to bring the aesthetic pleasure of art out of the institutional context of the museum/gallery.


SIGMAR POLKE
Apparat, mit dem eine kartoffel eine andere kartoffel umkreisenkann (Machine Enabeling A Potato To
Revolve Around Another Potato), 1969
Motor with battery attached to stool, potato circling around second potato (or other object)
15 3/4 x 31 1/2 x 15 3/4 inches
Edition Size: 30

 


STEPHEN PRINA
Monochrome Painting: A Posterior Prototype: Average Size, 1994
Delstar acrylic enamel (VW1985, LB6V, #45893, Papyrus Green Poly) on linen on wood panel,
and on wood
Painting: 53 3/16 x 53 3/16 inches Crate: 57 1/2 x 57 1/2 x 5 3/4 inches
Edition Size: 14

 

This multiple consist of one painting and it's crate. It relates to an installation Stephen Prina had at the Renaissance Society in Chicago. The installation was entitled 'The History of Monochrome Paintings' and consisted of 14 paintings, which referred to important monochrome paintings by artists such as Gerhard Richter. The multiple is the average size of these 14 paintings. If one multiple is purchased, the owner may place the crate perpendicular to the wall, so that it can be used as a bookcase. If two multiples are purchased, the owner may lay one crate flat on top of another with a sheet of glass, so that it can be used as a table. If three multiples are purchased the artist will provide the owner with cushions, so that the crates can be used as a seat.


CHARLES RAY
Bench, 1974
Wood
120 x 11 1/2 x 1 1/2 inches
Edition Size: 12
Artist Proofs: 1

 

The object is a plank of wood. In its rest state it is placed on the floor lengthwise and remains propped against the wall. In its active state, one person takes hold of each end of the plank.
Standing with their backs to the ends of the plank, each person slowly lowers the plank along the back of their legs and places the end of the plank directly behind their knees. Together, each person slowly squats into position on the plank, attempting to keep their heels on the floor. It is easiest to do this when both persons are approximately the same height. When sitting on the bench, each person should keep their back straight and their hands on their knees. Most people are able to hold this position only for a short while.

 

JASON RHOADES
Blue Room and Love Seat, 1995
Blue poly tarp, McCulloch Air Stream XXV, rabbit skin, red gas can, repair kit, screwdriver, Ensenble de Sortie, One Shot engine oil, plastic window, AC adapter fan, love seat pad, paper,
galvanized steel trunk
Room: 72 x 120 x 72 inches; Trunk: 18 x 40 x 18 inches
Edition Size: 12
Artist Proofs: 4

 

Each piece has been individually named after one of the National Parks in California that have hiking and handicap restrooms. The Blue Room and Love Seat is a multi-use object that has different uses and positions, but the primary use being a portable structure/device to perform the solo copulatory act in a rural setting (masturbating in nature).

 

The Blue Room and Love Seat is a completely portable unit that can be used deep in the forest, at local parks, or even in your own room and also as an object of furniture and architecture it can be installed in various different ways depending on the use and or space requirements. It is a good idea to explore all the options to discover what suits your personal needs and desires.


CINDY SHERMAN
Untitled, 1990
Puzzle and complete image, framed.
15 x 22 inches
Edition Size: 50

 

The completed image is framed by the top of the box. Inside the box are puzzle pieces that if put together would comprise the image.


RIRKRIT TIRAVANIJA
Without Title (Tent Installation), 1995
Tent, color images printed to inside
Tent: 102 x 59 x 49 inches; Bag: 23 1/2 x 13 1/2 x 6 inches
Edition Size: 9

 

This multiple is a continuation of "Without Title, Rucksack installation, 1993" and consists of a yellow tent with images printed to the interior. These images have to do with the relationship of sheltering and basic need for existence, the relationship of nomadic to domestic and architecture as private and social space.

 

Both editions, the rucksack- and the then installation, are studies for "Without Title, 1994 (de Barajas a paracuellos de Jamara, a Torrejon de Ardoz, a Costada y al Reina Sofia)" which was shown at the Reina Sofia, Madrid in 1994.

 

Untitled (Apron and Thai Pork Sausage), 1993
Hot pressed decal on brown paper with recipe
47 x 28 inches
Edition Size: 25
Artist Proofs: 5

A basic invitation to cook Thai pork sausage. The owner should wear the apron when cooking.