Crashed Cars in Contemporary Curatorial Contexts (C.C.C.C.C.)

But actually before including literature and comic books and rock songs and feral ferrets and whatever else, there is something to be said about the sculptural aspect of the wrecked car that lotsa contemporary artists, surely more than the few listed above, have seized upon. A wrecked car is an interesting sculptural subject because, in reproducing it, the artist is engaging with a mass-produced object, performing the same maneuver that Duchamp made with his readymades, putting a snow shovel in the gallery (or Warhol after him)  — but unlike a shovel or a soup can the wrecked car is a mass-produced object that’s been transformed and mangled by the forces of chance, which pushes the sculpture away from the mass-produced sameness of a urinal into the realm of singular one-of-a-kind miraculous snowflake novelty and originality that (some) art aspires to???????? but still an originality that originates with the world (e.g. the uniqueness of the wreck happened in the world, and not in the artist’s imagination.)

Is Fleury’s nail-polish car a reference to Ray’s Unpainted Sculpture? Ray left the crash unpainted in featureless primer gray, emphasizing the wreck’s status as an art object. Leaving the sculpture unpainted pulls it away from reading as a readymade car crash and makes the viewer consider it as an object. Fleury keeps her car wreck monochrome, too, but it’s the brightest, sweetest monochrome available. Is she “playfully” emphasizing the pop associations with the act of putting a wrecked car in a gallery?

(Why does art, when you try to write about it, make you sound like a mangled herringbone coughed up by a Soviet émigré aesthete? Why when I’m too sleepy to “work at my real job” do I still feel like it’s OK to discursively barf all over this snowy webpage? AND SO ON)

[p.s. memo to myself read this later (via jawbone)]

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    3 thoughts on “Crashed Cars in Contemporary Curatorial Contexts (C.C.C.C.C.)

    1. Kirk

      Haim Steinbach: What I believe you recognize about my practice when you refer to the idea of indexing desire is that everyday objects produced by our society may be turned into objects of desire more than one time. I am trying to demonstrate that an object may be consumed more than one time and desired in more than one way.

      Reply
    2. quilty Post author

      Thanks, Kirk, for introducing me to Haim Steinbach’s work. Feels like a mellower Matthew Ronay (probably not), from my mega-cursory glance.

      And: good call, NV. I like how Qiang’s “exploding” cars are also entirely intact–

      Reply

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