Regulated Material

Regulated Material

Carlos Avendaño

Nadia Botello

Jeni Cheung

Ethan Kiene Cohen

Nicholas Kokkinis

Ryan Parker

July 16 - August 14, 2016

An artist uses their medium to explore or describe a concept, experience, or narrative. The medium or material is the framework in which the artist creates their practice.

The International Standards Organization (ISO) is a private non-governmental organization developing standard operations for world businesses. The ISO has a hand in determining how most material has been made or has traveled across borders internationally. Setting standards from shipping container sizes, screw thread widths, ISBN numbers to the parameters of a JPEG, the ISO controls many aspects of our daily life without our awareness.[1] This infrastructure has caused us to understand the world through a set of processed and standardized materials.

The ISO’s system of standardization has been put in place in order to benefit business. Before reaching the artist, the material used to produce their work has been regulated in order to facilitate consumption. Supplies in art stores and Home Depot comply with health and safety standards; computer file types have been regulated to easily move across a variety of software, nearly everything the artist touches have been processed in order for it to easily enter their hands. The artwork is entangled in the economic system in which it exists. Although these parameters developed by the ISO benefit business transaction do they benefit artistic practice? Can an artist understand material outside of the language of standards?

Regulated Material presents six artists who use their media to carefully examine how the viewer understands the material world. Presenting objects, images, and sound as devices to prompt the viewer to contemplate their physical and virtual environments, the work focuses on the means by which the viewer interprets meaning. A photograph of a photograph, an object emitting sound, a computer showing a .GIF file, the manner by which we view the work affects the way we interpret it. While standards do not necessarily play a direct role in any of the work in the show, each artist, through their medium, considers the result of a standardized world. 

“Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication.”[2]

[1] Keller Easterling, Extrastatecraft (New York: Verso, 2014), 171. 
[2] Marshall McLuhan, The Medium is the Massage (Berkeley: Gingko Press, Inc. 1996), 8.

Silos, Windmills, Graveyards

Sophia Belkin, Matt Kayhoe Brett, Clark Mizono & Izaak Schlossman

June 11 - July 2, 2016

A game for long distance driving.
Passenger’s side vs. driver’s side.
Each silo spotted on your side is 1 point.
Each windmill spotted on your side is 5 points.
If you spot a graveyard on your opponent’s side they lose 25 points.
Most points at the end of the day wins.

Capability Brown

Dan Allende, Sam Cusumano, Jon Shapiro, Kasey Toomey & Adrianne Waxman

April 16 - May 22, 2016

 

Do you know that feeling when you are kind of lost in the woods and you're looking around in uncertainty? It is similar to when you are in the grocery store blankly staring up and down the aisle. Or when you start an internet search for something and after a few clicks, hours have disappeared.  

Tune into the open system of self organizing patterns and relationships. Find yourself temporarily lost in the biorhythms. Go on autopilot. It’s a state of multiple focal points.

Capability Brown explores natural systems through technology, humor and artifice.  By altering one’s perspective everyday systems become elaborate mysteries. The familiarity of these processes are warped with the child-like joy of experimentation.

Welcome to Earth, the story so far...

Joel Dean, Derek Frech, Mia Goyette, Oa4s, Libby Rothfeld, Sydney Shen, Eric Veit
February 27 - March 26, 2016

 

 

Welcome to Earth, the story so far…

1941

Laborers building ships in Long Beach, CA are going to the dock each time they use a toilet.  

 

1942

A ship builder recognizes the great cost for workers to go so far to use the toilet and asks the company which is emptying the holding tanks of the permanent dock toilets if they will make a toilet which could be temporarily put on the ship.  

 

1943

A wooden cabana is developed with a small holding tank. This becomes the first portable toilet. It is heavy to transport, absorb odors and is difficult to keep sanitary.

 

1946

This unique concept spreads to the construction industry and to organizers of large crowd events.

 

1951

Portable toilets made of fiberglass are introduced. They are lighter than wood and easier to transport. Still, problems persist. The fiberglass toilets require more maintenance due to the brittle nature of the material. In addition, fiberglass absorbs odors in the cabana and holding tank, thus proving to be a poor choice of material.  

 

1953

JW Enterprises develops the first polyethylene plastic portable restroom and a patent is issued to Harvey Heather for his ‘Strong Box’ - a solid, molded, stand alone chemical toilet.  Polyethylene makes portable toilets lightweight and more durable.  Polyethylene is easier to clean, since it is a non-porous and non-absorbing material.  It is the most popular material for portable toilets today.

 

1960

The second US patent for a polyethylene plastic portable restroom is issued to George Harding, co-founder of PolyJohn Enterprises Corporation.

 

2016

The success of the clean and portable toilet is almost unparalleled. The advantage of being self-contained, having no moving parts, requiring no power source and the use of attractive non-porous plastic with smooth surfaces, has made the portable toilet superior to many permanent facilities.

Garden Variety

Jessica Hans & Brendan Timmins
January 9 - February 14, 2016

 

Scarp is a lot of guessing. 

“Depending on where I start the screws always end up in different places.”

This is the embrace of imperfection with structural stability as a control and an adherence to process. 

This collaboration is the merging of Brendan Timmins' “Scarp” technology with Jessica Hans’ visceral ceramic experience, where the design process is instinctual and freestyle.

Garden Variety describes the usual, the ordinary, the commonplace. Run-of-the-mill and ubiquitous. 

Garden Variety is the uncanny valley of a flower shop presented in a context that is highly aestheticized. 

Turning into Strangeness.

Spiritual Awakening Tailgate Party

Andrea McGinty
November 14 - December 20, 2015

I did it y'all!
I finally did it.
I finally found Jesus.
Well not like Jesus, exactly, but God.
Well not like God, exactly, more of a "higher power".
Like if I had to describe it, I guess I'd say I'm more spiritual than religious?
Anyways...
I know the big game's coming up, but I wanted to celebrate.
Nothing fancy or nothin', just a couple of beers, one of those really long party hoagies, and maybe some pigs in a blanket, or whatever.
I don't know.
Anyways, it starts at 7.
Tell your cousin he can bring the kids.