Cathouse FUNeral Harvested
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134 10th Ave, NY, NY
December 15 - February 18, 2017 (extended)
hrs: Tuesday - Saturday 11-5:30 PM
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Including work harvested from Brad Benischek's 'Ghost City' and Anne Deleporte's 'My Favorite Horror Show: the news', as well as several group and solo shows by David Dixon
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Press: Artforum Critic's Pick by Nicole Kaack
Left: 'Cathouse FUNeral Gallery-Object 4', (2017) gypsum board, pigment, plaster, wood, sandbags; David Dixon & Cathouse FUNeral 'Harvesting, The Hunt (No Blood, No Foul)' (2014) mirror, blood, framed photo mounted on sintra
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Right: Camel Collective 'The View From Our Present Location' (2017), cane for the vision impaired on 'Cathouse FUNeral Gallery-Object 5', (2017), gypsum board, paint, pigment, plaster, wood, sandbags
Jeannie Weissglass, 'The Pitcher' (2016), 90 sec. digital video animation
Left: 'Cathouse FUNeral Gallery-Object 5', (2017), gypsum board, paint, pigment, plaster, wood, sandbags
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Right: Suzy Spence, 'Widows III and IV (2017), flashe on paper on 'Cathouse FUNeral Gallery-Object 6', (2017), stained panel, wood, sandbags
Farideh Sakhaeifar, 'NASA/ ISIS' (2014), digital print mounted on board on David Dixon, 'Wailing Wall' (2014/17), flashe, masonite, metal
Left: Davide Cantoni, 'Child Soldier', Liberia (2008-2009), acrylic on canvas
Right: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Left: Elizabeth Harney, 'Hunters and Soldiers', (2017) graphite on paper
Right: Davide Cantoni, 'Child Soldier, Liberia' (2008-2009) acrylic on canvas
Center: Anne Deleporte, harvesting from her My Favorite Horror Show: the news (May 2016)
Left: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Center: Brad Benischek, Harvesting from his 'Ghost City' (2015)
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Right: Daniel Swanigan Snow, 'I Had a Nightmare' (2013), ink, paper, frame
Left: 'Cathouse FUNeral Gallery-Object 4', (2017) gypsum board, pigment, plaster, wood, sandbags; David Dixon & Cathouse FUNeral 'Harvesting, The Hunt (No Blood, No Foul)' (2014) mirror, blood, framed photo mounted on sintra
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Right: Camel Collective 'The View From Our Present Location' (2017), cane for the vision impaired on 'Cathouse FUNeral Gallery-Object 5', (2017), gypsum board, paint, pigment, plaster, wood, sandbags
Center: Brad Benischek, harvesting from his Ghost City (May 2015)
Left: 'Cathouse FUNeral Gallery-Object 5', (2017), gypsum board, paint, pigment, plaster, wood, sandbags
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Right: Suzy Spence, 'Widows III and IV (2017), flashe on paper on 'Cathouse FUNeral Gallery-Object 6', (2017), stained panel, wood, sandbags
Farideh Sakhaeifar, 'NASA/ ISIS' (2014), digital print mounted on board on David Dixon, 'Wailing Wall' (2014/17), flashe, masonite, metal
Left: Davide Cantoni, 'Child Soldier', Liberia (2008-2009), acrylic on canvas
Right: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Left: Elizabeth Harney, 'Hunters and Soldiers', (2017) graphite on paper
Right: Davide Cantoni, 'Child Soldier, Liberia' (2008-2009) acrylic on canvas
Left: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Center: Brad Benischek, Harvesting from his 'Ghost City' (2015)
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Right: Daniel Swanigan Snow, 'I Had a Nightmare' (2013), ink, paper, frame
Left: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Center: Brad Benischek, Harvesting from his 'Ghost City' (2015)
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Right: Daniel Swanigan Snow, 'I Had a Nightmare' (2013), ink, paper, frame
Left: David Dixon & Cathouse FUNeral, 'Harvesting: The Hunt I and II' (2014), mixed media
Center: Brad Benischek, Harvesting from his 'Ghost City' (2015)
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Right: Daniel Swanigan Snow, 'I Had a Nightmare' (2013), ink, paper, frame
exhibition photography
Dario Lasagni
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​PRESS RELEASE
Due to certain twists and turns in fate and real estate, Cathouse FUNeral’s distinctive gallery walls have been harvested from its former East Williamsburg location in an ex-funeral home (the building has been sold for development) and reconfigured as “gallery-objects” in Chelsea at 132 10th Avenue.
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Along with these three room-sized installations hang many of the gallery’s “harvestings” that have been extracted from the design conditions of the space over its three-year life. Cathouse FUNeral was never returned to its original white walls, rather, the space accumulated layers of color, design, murals and fresco over its twenty group and solo exhibitions. Not every show produced a harvesting – nor were they intentionally made – but when one presented itself, it was duly removed and preserved. There are now over thirty harvestings.
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This attitude toward relic, history and transformation has led to the entire gallery space being deconstructed and reconstructed (Frankenstein-like or like Osiris) in an empty and available gallery space in Chelsea. Each of the three gallery-objects is freestanding, arranged and composed of multiple sheets of plastered and painted gypsum board.