A one-day event starting at 7:30pm on Friday May 18th, 2012.
At The Industry Lab
7:30–Close: EMILY HURLEY (Edible Installation)
8:00–8:30: JORDAN WAYNE LONG (Performance)
8:30–9:30: BEVERLY FRE$H (Performance)
9:30–Close: Music (DRINKS)
About the Artists
I hardly know Beverly Fre$h. Jordan and Emily are more the curators of this show than I and they brought in Ambassador Fre$h, but as soon as I saw his website I was hooked. Go look at all these photos right now, I’ll wait. Okay, good right? Did you listen to his music? Seeing Commandant Fre$h rap about nuts got me psyched. Why? I’m not sure, but I like it. (It may be partially because I’m a total nerd and love the films of Jan Svankmajer. One of my favorites, The Ossuary, was also filmed at the Sedlec Ossuary in Czech Republic where Rear Admiral Fre$h appears above. The score by Zdeněk Liška is a singular piece of music for me.) His ode to Woody Guthrie and Spice1, a short verse at the end of a two-minute exhibitionist acappella attack, delivered with impromptu gusto in front of Checkpoint Charlie in Berlin, is compelling. A severely mixed message, with raw aesthetic power. It makes you feel something, something you don’t understand. Soon you realize you haven’t felt it before.
Emily Hurley asked me once if it would be okay to paint a mural on the wall in the Sweet Sea (the room she resides in at the Industry Lab). I said I’d need to take a look at it first, I didn’t know her work really at all then and imagined the worst when I heard the word mural. I did write terrible graffiti for years in this town, so I know a lot about bad murals. She showed me an image of a pink door. Lush, cartoonish, smooth, bright, and painstakingly rendered. I loved it right away. So inviting, I wanted to have that door around. Then she painted it and put a real coat hook on it. I wanted to open it and go into the pink world of happy references from a lifetime of becoming friends with massagingly simplified graphic representations. Then she hung a strange stethoscope on the hook; there was something wrong with it. Then she made some kind of plastic poop and a little, blue chair in the corner. There was an arrow on the chair, those are dangerous . . . but it’s wilted. These objects and images were in my head already, I just didn’t know they were there until she showed me.
I saw Jordan Wayne Long’s thesis show at Cranbrook Academy before I knew him. I was lucky enough to be there giving a talk about my own work when the grad show was happening. There was this huge structure of cardboard boxes, then, a panel opened in the side and a rope came tumbling out. A compact dude in a white t-shirt descended and walked away, looking nonplussed. He had crawled through the constrictive tunnels he created in cardboard to make an escape from a maze of uncomfortability. In perhaps his most well-known piece, Jordan shipped himself across country in a crate. Once he was dragged behind a car. I think he does these things so that I don’t have to. I don’t want to be dragged behind a car, and yet I’ve seen so many violent films in my life, always wondering when I’ll be in a car chase, a gunfight, get dragged, or get beaten. These things happen in real life, what do they feel like, really? Jordan’s work is powerful. He functions as the medium. It is rare to find work that conveys experience in this way so successfully. His sincerity and determination are humbling, as is watching him process our culture’s dangerous and frightening substratum, revealing and unprotected, right in front of you.
These are three exceptional artists, all Cranbrook graduates, all working their asses off, all at the start of their careers. The Industry Lab Gallery is proud to present Not This Side.
Director at Zigelbaum + Coelo
Cofounder at Industry Lab