FEEDBACK, curated by Leo Fitzpatrick

Jul 6 — Aug 4, 2017
New York, Downtown

This summer, Marlborough is hosting the exhibition FEEDBACK, which explores the different steps, combinations and inspirations artists take, above and beyond the work they do alone in the studio, to complete a work. Whether it be in the form of collaboration, an artists’ collective, or simply public actions and interventions, the exhibition will showcase what can happen when an artist embraces chance, happenstance, and other deliberate ways of ceding control, and will celebrate the influences or accidents that wreak profound changes on the final form a work takes. 

Collaboration in the traditional sense of the word can be described as two or more people working with – and sometimes against – each other until a common goal has been reached. But what if some or all of those people are unaware of the part they play in determining the final product? Does that disqualify the result from being a collaboration, properly so-called? What, after all, do we mean when we speak of such things? Collectives, for example, are notoriously short-lived, in their official form, anyway; but to what extent do they continue to influence the artist, long after the group has been disbanded? Is influence itself a form of collaboration? Participation art, where the audience is asked to engage with the work, has been around for many decades, but what happens if the audience refuses such engagement? Does that mean the work is incomplete? What of those profound and puzzling interventions where an outside force permanently alters the way a work is seen, leaving the original artist faced with the choice of either accepting this intrusion on their authority, or denouncing it? Does the work then reside in a kind of limbo, neither here nor there, alive or dead, neither yours or mine, ours or theirs, his or hers? 

The hope is that this show raises these questions, and many more, but here, as elsewhere, the questions are more interesting than any answer could be. In the end, there is the suggestion that all artists are collaborators in one way or another, while leaving the ambiguity and ambivalence of being so unresolved.

Works

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Tom Marioni, The Act of Drinking Beer with Friends is the Highest Form of Art, 2017, mixed media, dimensions variable
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Installation View. Photo: Pierre Le Hors.
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Installation View. Photo: Pierre Le Hors.
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Jack Pierson, SELF PORTRAIT #29 (AGOSTO MACHADO), 2005, pigment print, edition of 7, 531/2 × 43 in., 135.9 × 109.2 cm
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Rob Pruitt, People Feeder 2, 2010, 4 rubber tires, shellac, acrylic paint, stainless steel bowl, 49 × 50 × 50 in., 124.5 × 127 × 127 cm
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Rob Pruitt, Detail: People Feeder 2, 2010, 4 rubber tires, shellac, acrylic paint, stainless steel bowl, 49 × 50 × 50 in., 124.5 × 127 × 127 cm
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Installation View. Photo: Pierre Le Hors.
Lowman, i hereby give and bequeath to l.p.f my killer parking spot near the south exit, 2017, latex on linen, 63 x 90 x 1 1 2 in., 160 x 228.6 x 3.8 cm, cnon 59.138 photo by pierre le hors
Nate Lowman, I Hereby Give And Bequeath To L.P.F My Killer Parking Spot Near The South Exit, 2017, latex on linen, 63 × 90 × 11/2 in., 160 × 228.6 × 3.8 cm
Magid, the booth at court street, 2006 7, digital photo printed on fuji crystal archive paper, ed. 2 of 3, 21.825 x 27.75 in. cnon 59.253
Jill Magid, The Booth at Court Street, 2006-2007, digital photo printed on Fuji crystal archive paper, edition of 3, 217/8 × 273/4 in., 55.4 × 70.5 cm
Magid, his black book, a record of my hours, 2006 7, digital photo printed on fuji crystal archive paper, ed. 1 of 3, 21.825 x 27.75 in. cnon 59.254
Jill Magid, His Black Book, a record of My Hours, 2006-2007, digital photo printed on Fuji crystal archive paper, edition of 3, 217/8 × 273/4 in., 55.6 × 70.5 cm
Magid, holding his gun, 2006 7, digital photo printed on fuji crystal archive paper, ed. 3 of 5, 21.825 x 27.75 in. cnon 59.257
Jill Magid, Holding his Gun, 2006-2007, digital photo printed on Fuji crystal archive paper, edition of 5, 217/8 × 273/4 in., 55.4 × 70.5 cm
Magid, court street platform, 2006 7, digital photo printed on fuji crystal archive paper, ed. 2 of 3, 21.825 x 27.75 in. cnon 59.253
Jill Magid, Court Street Platform, 2006-2007, digital photo printed on Fuji crystal archive paper, edition of 3, 217/8 × 273/4 in., 55.6 × 70.5 cm
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Installation View. Photo: Pierre Le Hors.
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Installation View. Photo: Pierre Le Hors.
Riepenhoff, the john riepenhoff experience presents   sea horse ecstasy switch by niall macdoanal (from left to right) credit card sea urchin pipe light switch, 2013, wood, ladder, paint and light, 103 x 34 x 18 in. non 54.182
John Riepenhoff, The John Riepenhoff Experience, 2013, wood, ladder, paint and light, 103 × 34 × 18 in., 261.6 × 86.4 × 45.7 cm
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Installation View. Photo: Pierre Le Hors.
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Installation View. Photo: Pierre Le Hors.
Skreber, untitled (isis), 2016 17, mixed media, 72 x 18 x 18 in. cnon 59.186
Dirk Skreber, untitled (the wide-eyed maidens of Paradise), 2016-2017, powder coated steel, microcrystalline and paraffin wax, metal cans, rubber, 3D printed plastic, propane cylinder, electric wire, gold filled teeth, nylon rope, 18 × 72 × 18 in., 45.7 × 182.9 × 45.7 cm
Wool, untitled, 1994, enamel on steel, 66 x 33 x 1.25 in. cnx 7230
Christopher Wool, Untitled, 1994, enamel on steel, 66 × 33 × 11/4 in., 167.6 × 83.8 × 3.2 cm

Press

Feedback. marlborough contemporary new york. installation view 8 photo by pierre le hors
Vito acconci rita ackermann sophie calle leo fitzpatrick feedback at marlborough contemporary new york sfaq nyaq lxaq marlborough