Final Harvestings
September 17 - extended through November 20, 2016
With the work of:
Anne Deleporte, Brad Benischek, Timmy Simonds,
Nicola Ginzel, Gregor Neuerer, and David Dixon and Cathouse FUNeral
left: Harvestings of handwritten titles and artists from three years of exhibitions, graphite and paint on gypsum board
right: hanging plant from Gregor Neuerer's show Various Tones
General exhibition design from David Dixon's Atavistic Expressionistic Primitivism, pigmented plaster and paint, etc.
left: Harvesting from Brad Benischek's Ghost City, Nicola Ginzel, three 'Fragments', 2016, Harvesting from Shrink It, Pink It & For the Love of Agnes and Barney, wood 2x4, plaster, 2014
right: Cut through to 'Wailing Wall' from David Dixon's Heroic Social Worker
Harvesting from Brad Benischek's Ghost City, Nicola Ginzel, three 'Fragments,' 2016
harvesting from Shrink It, Pink It & For the Love of Agnes and Barney, wood 2x4, plaster, 2014
Timmy Simonds, 'Har', aluminum, 2014, Timmy Simonds, 'For', carpet with brass nuts and bolts, 2016, back wall: cut through to Brad Benischek's Ghost City
right: Harvesting from The Hunt, mirror, blood, framed photo, 2014
Harvesting from The Hunt, mirror, blood, framed photo, 2014, harvesting from Brad Benischek's Ghost City, graphite on plaster and plywood, 2015
from left: Harvesting from Brad Benischek's Ghost City, graphite on plaster and plywood, 2015, cut through to Anne Deleporte's My Favorite Horror Show: the news, cut through to David Dixon's Heroic Social Worker, harvesting from Anne Deleporte's My Favorite Horror Show: the news, paint, newsprint on gypsum board, 2016
Cut through to Anne Deleporte's My Favorite Horror Show: the news, cut through to David Dixon's Heroic Social Worker, harvesting from Anne Deleporte's My Favorite Horror Show: the news, paint, newsprint on gypsum board, 2016
Beer can left in place from final opening, cut through to 'Wailing Wall' from David Dixon's Heroic Social Worker, cut through to Anne Deleporte's My Favorite Horror Show: the news
from left: Harvesting from The Hunt, wood, gypsum board, show card, paint, etc. 2014
cut throught to Brad Benischek's Ghost City, harvesting from David Dixon's Atavistic Expressionistc Primitivism & Final Harvestings, pigmented plaster on gypsum board, 2016, harvesting from For the Love of Agnes and Barney, paint on gypsum board, 2014
from left: Harvesting from For the Love of Agnes and Barney, paint on gypsum board, 2014, harvesting from David Dixon's Heroic Social Worker, paint on gypsum board, 2014
exhibition photography
Dario Lasagni
PRESS RELEASE
It is with mixed feelings that we announce the final show in our Cathouse FUNeral space. Our ex-funeral home building has been sold. We will continue Cathouse’s innovative programming at Cathouse Proper in Carroll Gardens at 524 Project Space and at "on-site" locations and fairs.
Over the three-year life of Cathouse FUNeral the space itself has taken on sculptural form, both physical and social. This final show, 'Final Harvestings', will install several of the over 25 "harvestings" that have been cut from the gallery walls, then framed or isolated as single art objects.
The first harvesting – a wood 2x4 with vertical, pink plaster stripe – was produced during deinstallation between two shows in 2014: 'Shrink It, Pink It' (curated by Irena Jurek and Diana Buckley) and 'For the Love of Agnes and Barney'. Subsequent harvestings have also been extracted from 'The Hunt', David Dixon's solo-show 'Heroic Social Worker', Brad Benischek’s solo-show, 'Ghost City', and Anne Deleporte’s recent 'My Favorite Horror Show: the news'.
These harvesting and other works from past exhibitions will be installed – those of Timmy Simonds, Nicola Ginzel and Gregor Neuerer – along with strategic cuts in the walls that will reveal fragments of past exhibitions that are beneath and remain intact in the FUNeral’s unusual layered space.
Cathouse FUNeral has never been returned to its original white-wall configuration. Rather, the twenty exhibitions in this three-year project have been sequentially built one upon the other, adding new walls when necessary to reconfigure the space or preserve murals, frescos, and exhibition design.
Our feelings are “mixed” at this closing because, although saddened at the loss, we are pleased that the sequential nature of the twenty produced exhibitions will conclude with artistic clarity and purpose, thus completing this three-year project and giving it final form. Also, as Dr. Seuss tells us, “Don’t cry because it’s over, smile because it happened." With this in mind, I would like to thank all the artists, patrons, guests and participants that have made Cathouse FUNeral the immensely satisfying and innovative project that it is and has been. Now, onward with Cathouse Proper, and...