'Final Harvestings'

September 17 - extended through November 20, 2016

with the work of:

Anne Deleporte, Brad Benischek, Timothy Simonds,

Nicola Ginzel, Gregor Neuerer, and David Dixon and Cathouse FUNeral

 

 

left: Harvestings of handwritten titles and artists from three years of exhibitions, graphite and paint on gypsum board

right: hanging plant from Gregor Neuerer's show Various Tones

General exhibition design from David Dixon's Atavistic Expressionistic Primitivism, pigmented plaster and paint, etc.

 

from left:

Harvesting from Brad Benischek's Ghost City

Nicola Ginzel, three 'Fragments', 2016

Harvesting from Shrink It, Pink It & For the Love of Agnes and Barney, wood 2x4, plaster, 2014

right: Cut through to 'Wailing Wall' from David Dixon's Heroic Social Worker

 

Harvesting from Brad Benischek's Ghost City

Nicola Ginzel, three 'Fragments, 2016

Harvesting from Shrink It, Pink It & For the Love of Agnes and Barney, wood 2x4, plaster, 2014

 

 

 

Timothy Simonds, 'Har', aluminum, 2014

Timothy Simonds, 'For', carpet with brass nuts and bolts, 2016

back wall: Cut through to Brad Benischek's Ghost City

right: Harvesting from The Hunt, mirror, blood, framed photo, 2014

 

Harvesting from The Hunt, mirror, blood, framed photo, 2014

Harvesting from Brad Benischek's Ghost City, graphite on plaster and plywood, 2015

 

 

from left:

Harvesting from Brad Benischek's Ghost City, graphite on plaster and plywood, 2015

Cut through to Anne Deleporte's My Favorite Horror Show: the news

Cut through to David Dixon's Heroic Social Worker

Harvesting from Anne Deleporte's My Favorite Horror Show: the news, paint, newsprint on gypsum board, 2016

 

Cut through to Anne Deleporte's My Favorite Horror Show: the news

Cut through to David Dixon's Heroic Social Worker

Harvesting from Anne Deleporte's My Favorite Horror Show: the news, paint, newsprint on gypsum board, 2016

 

Beer can left in place from final opening

Cut through to 'Wailing Wall' from David Dixon's Heroic Social Worker

Cut through to Anne Deleporte's My Favorite Horror Show: the news

 

 

 

from left:

Harvesting from The Hunt, wood, gypsum board, show card, paint, etc. 2014

Cut throught to Brad Benischek's Ghost City

Harvesting from David Dixon's Atavistic Expressionistc Primitivism & Final Harvestings,

pigmented plaster on gypsum board, 2016

Harvesting from For the Love of Agnes and Barney, paint on gypsum board, 2014

 

from left:

Harvesting from For the Love of Agnes and Barney, paint on gypsum board, 2014

Harvesting from David Dixon's Heroic Social Worker, paint on gypsum board, 2014

 

All photos by Dario Lasagni

 

 

Original press release:I

It is with mixed feelings that we announce the final show in our Cathouse FUNeral space. Our ex-funeral home building has been sold. We will continue Cathouse’s innovative programming at Cathouse Proper in Carroll Gardens at 524 Project Space and at "on-site" locations and fairs.

Over the three-year life of Cathouse FUNeral the space itself has taken on sculptural form, both physical and social. This final show, 'Final Harvestings', will install several of the over 25 "harvestings" that have been cut from the gallery walls, then framed or isolated as single art objects.

The first harvesting – a wood 2x4 with vertical, pink plaster stripe – was produced during deinstallation between two shows in 2014: 'Shrink It, Pink It' (curated by Irena Jurek and Diana Buckley) and 'For the Love of Agnes and Barney'. Subsequent harvestings have also been extracted from 'The Hunt', David Dixon's solo-show 'Heroic Social Worker', Brad Benischek’s solo-show, 'Ghost City', and Anne Deleporte’s recent 'My Favorite Horror Show: the news'.

These harvesting and other works from past exhibitions will be installed – those of Timothy Simonds, Nicola Ginzel and Gregor Neuerer – along with strategic cuts in the walls that will reveal fragments of past exhibitions that are beneath and remain intact in the FUNeral’s unusual layered space.

Cathouse FUNeral has never been returned to its original white-wall configuration. Rather, the twenty exhibitions in this three-year project have been sequentially built one upon the other, adding new walls when necessary to reconfigure the space or preserve murals, frescos, and exhibition design.

Our feelings are “mixed” at this closing because, although saddened at the loss, we are pleased that the sequential nature of the twenty produced exhibitions will conclude with artistic clarity and purpose, thus completing this three-year project and giving it final form. Also, as Dr. Seuss tells us, “Don’t cry because it’s over, smile because it happened." With this in mind, I would like to thank all the artists, patrons, guests and participants that have made Cathouse FUNeral the immensely satisfying and innovative project that it is and has been. Now, onward with Cathouse Proper, and...

 

 

 

Harvesting from Brad Benischek's 'Ghost City', July 2015

 

 

 

 

 

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