MAKE BELIEVE

Curated by Bruce W. Ferguson
Jennifer Bolande, Klaus vom Bruch, Yul Brynner, Meg Cranston, David Deutsch, Jack Goldstein, Sayre Gomez, Teresa Hubbard / Alexander Birchler, Elliott Jamal Robbins, Walter Robinson, Kerry Tribe

January 13–February 17 2019

Press Release Selected Press

Jennifer Bolande, Plywood Curtains, 2010. Photographically printed poplin; each panel: approximately 118h x 170w in.

Sayre Gomez, Behind Door #9, 2018. Acrylic and urethane based paints on canvas over panel, 84h x 120w in.

David Deutsch, High Desert Ghost House, 2001. Silver gelatin print, 30h x 40w in.

David Deutsch, Untitled, 2000. Silver gelatin print, 30h x 40w in.

Left: Kerry Tribe, Ceiling Light (Monstera deliciosa), 2018. Modified lighting equipment and potted plant, dimensions variable.

Left: Meg Cranston, Yes, No, Maybe, 1994. Black and white prints, 20h x 16w in each.
Meg Cranston, Women Who Would Play Me If I Paid Them (Partial Facsimile), 1994.
Black and white xerox, photo prints, display book with plastic sleeves. Each page: 11h x 8.5w in; overall: 11.375h x 9.625w in.

Right: Walter Robinson, Strange Journey, 2017. Acrylic on bed sheet, 92.50h x 63w in.

Walter Robinson, Strange Journey, 2017. Acrylic on bed sheet, 92.50h x 63w in.

Meg Cranston, Yes, No, Maybe (Yes), 1994. Black and white print, 20h x 16w in.

Meg Cranston, Yes, No, Maybe (No), 1994. Black and white print, 20h x 16w in.

Meg Cranston, Yes, No, Maybe (Maybe), 1994. Black and white print, 20h x 16w in.

Jennifer Bolande, Exit Triangle, 2010. Inkjet print, 30h x 16w in.

Yul Brynner, Cecil B. DeMille on the Set of The Ten Commandments, 1956. Archival inkjet print, 16h x 20w in.

Yul Brynner, The King and I, 20th Century Fox Studios, Los Angeles, 1956. Archival inkjet print, 20h x 16w in.

Left: Teresa Hubbard / Alexander Birchler, Grand Paris Texas, 2009. High definition video with sound, Duration: 54 min; Installation dimensions variable.
Courtesy the Artists, Tanya Bonakdar Gallery, New York / Los Angeles, Lora Reynolds Gallery, Austin and Vera Munro Gallery, Hamburg.
Right: Jennifer Bolande, Movie Chair, 1984. Wooden chair, velvet, bronze, enamel paint, light stands, lights, gaffer’s tape; 60h x 72w x 36d in.

Jennifer Bolande, Movie Chair, 1984. Wooden chair, velvet, bronze, enamel paint, light stands, lights, gaffer’s tape; 60h x 72w x 36d in.

Left: Klaus vom Bruch, Relatively Romantic, 1984. Color video with sound, 21:46 min.
Right: Elliott Jamal Robbins, Master Study: Snow White Clapping, 2018. HD video, 1:08 min.

Seen through an artist's eye, the notion of film reflects two sides of a mirror—on one side, a fictional space, on the other, a discerning look into reality.

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