47 Canal opens Danielle Dean's second solo exhibition

The First Art Newspaper on the Net    Established in 1996 Monday, May 20, 2024

47 Canal opens Danielle Dean's second solo exhibition
Danielle Dean, 11 p.m. (detail), 2022.

NEW YORK, NY.- “Horizongrabber” is Danielle Dean’s second solo exhibition at 47 Canal. For this exhibition, the artist presents a selection of new works that coalesce her ongoing inquiries into labor, racial capitalism, and the shaping influence of advertising on human subjectivity.

For the past several years, Dean has researched in the Ford Motor Company archives, exploring the system of mass production pioneered by the American company in the early 20th century, along with the visual tropes and culture of the company’s advertising. Her research has surfaced Fordlândia, an industrial plantation that Henry Ford erected in the Brazilian rainforest that corralled workers into standardized schedules, hamburger and tinned peaches for meals, and architecture modeled on the farm towns of the American Midwest. Fordlândia was abandoned after worker revolts in the 1930s rendered the enterprise untenable and the entire settlement was deserted.

Dean’s ongoing watercolor landscape series begins with the artist digitally collaging Ford advertisements without respect to their chronology and then stripping them of all traces of human habitation. With pristine cars and models removed and domesticated animals rendered wild, the artist reconfigures previously Disney-fied landscapes as eerily sparse, post-apocalyptic spaces, with the implication that humans have eradicated themselves.

In “Horizongrabber,” Dean presents a 35.5 foot long landscape, the largest work in this watercolor series to date. The painting’s length requires visitors to move along it to take in the vista as it shifts from night to day. Its horizontality references the assembly line, a manufacturing method commonly used in the process of building a car. In the gallery, the viewer’s movement is akin to that of the product being assembled, pointing to the processes by which advertising fashions the imaginaries in which contemporary subjectivity is formed. The titles of each panel––11 p.m., 2:05 a.m., 5:20 a.m., 12:45 p.m., 5 p.m.––register like timestamps, further punctuating a sense of endless repetition in the loop of productivity.

The watercolor works in “Horizongrabber” depart from the artist’s usual practice of depopulating the advertisement source material. Artifacts from Christian, Igbo, and Native American burial traditions appear in the foreground, short-circuiting any nostalgia that might

attend these romanticized landscapes. Their presence signals the human cost of the American Dream with which these sweeping views are associated in the source material, and even without the human figure, the artifacts repopulate Dean’s landscapes by alluding to human activity. This evidence of human life intimates that alongside the dominant system that treats human lives as fungible and creates mass death, an ethos that values life enough to commemorate the dead has survived.

The triptych Hunter, Amy, and Greg, 3:34 p.m. (2022) draws on Dean’s five-channel video installation, “Amazon,” presented earlier this year at Tate Britain. In that work, workers with Amazon Mechanical Turk (AMT), an online platform that since 2005 has enlisted human labor to harvest data for machine learning, collaborate with Dean in artmaking. In their daily lives, they labor toward a future of automation; in some sense, they work towards their own obsolescence, a risky business within neoliberal capitalism which already regards workers as interchangeable units of labor power. Dean’s watercolor renderings of stills from “Amazon” depict these remote workers at their domestic workstations — the couch, the home office, and the kitchen sink — although they are globally dispersed and atomised, the settings resonate. Apart but together, these portraits are held within engraved wooden frames, creating frames within frames, a metaphor for the structuring effects of the techno-feudal society in which we live. This presentation also sees Dean drawing on European medieval painting traditions. While those paintings celebrated saints or subjects of noble heritage, engraving their names into the frames for posterity, Dean figures the usually faceless worker to honor each as a named individual and unites them through framing to signal their potential collective political power.

AMT workers from the “Amazon” video installation also appear in other works throughout “Horizongrabber.” The composition of the paintings in this exhibition draws explicitly on European medieval painting’s use of architecture to reveal the structures shaping the lives of the sitter. As in Robert Campin’s Saint Barbara (1438), Dean’s subjects are figured as ensconced by buildings that in many ways delimit their lives. Saint Barbara reads in front of a window that opens onto a view of the tower where her father, Dioscoro, imprisoned her to prevent her conversion to Christianity. In Dean’s appropriation of this imagery, the worker becomes visible through cutaways in the walls of digitally collaged and amalgamated Amazon warehouses rendered in watercolor. Together the works offer a proposition and hope, that the most exploited workers might overcome the structuring conditions of their time.

Danielle Dean (b. 1982, Alabama) lives and works in Los Angeles. Dean recently participated in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York. Dean’s new multi-channel video installation was also on view at the Tate Britain in London in spring 2022. Recent solo exhibitions include “Trigger Torque,” (2020) at Ludwig Forum Aachen, Germany; “True Red Ruin,” (2018) at the Museum of Contemporary Art, Detroit; and “Focus,” (2016) at the Studio Museum, New York. Her work was also exhibited at the Stedelijk Museum, Amsterdam (2018), and is in the collections of the Whitney Museum of American Art, New York; Kadist Art Foundation, San Francisco and Paris; Hammer Museum, Los Angeles; CC Foundation Shanghai; and The Museum of Fine Arts, Houston.

Today's News

December 11, 2022

NFL owner by day, rock 'n' roller by night

Dutch artists turn to gold at Bonhams Old Master Paintings Sale

Do Ho Suh opens exhibition at the Museum of Contemporary Art Australia

A groundbreaking generative digital artwork by Beeple, opens at M+ today

Morphy's adds quality and beauty to holidays with elegant Fine & Decorative Arts Auction

Stephenson's to auction the last of Perry Pfeffer's legendary collection of rock concert posters

Mysteries of a Venetian perfectionist revealed in Washington

Goldin Acquires Sell My Comic Books, enabling anyone to seamlessly appraise & list their comics for sale

Red 1963 Chevrolet Corvette Coupe with rare split rear window brings $129,800 in Miller & Miller's auction

Art Rotterdam 2023 new sculpture park celebrates connection with the city of Rotterdam

Box covering Columbus statue in Philadelphia must be removed, court rules

Madeleine Bialke, M. Florine Démosthéne, Sahara Longe, Nadia Waheed at the Alexander Berggruen Gallery

Ora Ora signs rising artist Joseph Tong, exclusive representation in greater China and South Korea

Dundee Contemporary Arts presents a new body of work by Glasgow-based artist Matthew Arthur Williams

Latest exhibitions at the Moss Arts Center at Virginia Tech, features works by Craig Drennen and Steve Locke

"José Lerma: Quieto, Quietud, Quietudes" at Almine Rech in Shanghai, China

Hamish Kilgour, whose New Zealand cult band had reach, dies at 65

An opera company's precarious future has some worried about a ripple effect

When Jewish artists wrestle with antisemitism

Review: Michelle Dorrance returns to the Joyce. Where's the zip?

47 Canal opens Danielle Dean's second solo exhibition

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful