R
Nov 13–Dec 23, 2005

All The Pretty Corpses

Steven Shearer, Band, 2005.

  • Steven Shearer, Band, 2005.

  • Steven Shearer, Band, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • John Espinosa, 150%, 2003.

  • Tony Tasset, Grotto, 2005.

  • Ellen Cantor, Still from Evokation of My Demon Sister, 2002.

  • Kacy Maddux, Untitled (monkey), 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • Steven Shearer, Window, 2005.

  • Tony Tasset, Grotto, 2005.

  • Tony Tasset, Grotto, 2005.

  • Kacy Maddux, Untitled, 2005.

  • Kacy Maddux, Untitled, 2005.

  • Kacy Maddux, Untitled Triptych, 2005.

  • Kacy Maddux, Untitled Triptych, 2005.

  • Kacy Maddux, Untitled Triptych, 2005.

  • Kacy Maddux, Untitled (tree), 2005.

  • Sterling Ruby, Anti Print 1 (MINIMALISM TRIES TO KILL THE AMORPHOUS LAW, THIS WON’T LAST), 2005.

  • Sterling Ruby, Anti Print 2 (THE ABSOLUTE VIOLATION COMES FROM INSTITUTIONAL PRECEDENCE), 2005.

  • Sterling Ruby, Anti Print 3 (FINISH ARCHITECTURE, KILL MINIMALISM, LONG LIVE THE AMORPHOUS LAW), 2005.

  • Kacy Maddux, Untitled Triptych, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • Steven Shearer, List, 2004.

  • All The Pretty Corpses, Installation View, 2005.

  • All The Pretty Corpses, Installation View, 2005.

  • The Renaissance Society’s harshly angled, highly vaulted architecture functions as the stage for exposing the latent Gothic impulse in contemporary America. The works reflect on mysticism, anger, mourning, horror, aggression, angst, apocalypse and the post-human in the forms of text on walls, drawings, sculpture, and video. Poems are derived from Goth Metal song titles (Steven Shearer); blood-colored candle wax drippings ooze and spill from the mouth of a stone grotto (Tony Tasset); a psychedelic meditation on frontier violence depicts haunted mansions and abandoned movie theaters (Jeremy Blake); a body-based cosmogony obsessively repeats tooth, bone, muscle, and hair (Kacy Maddux); a stained dropped ceiling is simultaneously repulsive, beautiful, and horrific (Jay Heikes); a dual homage to the films Invocation of My Demon Brother and Carrie is also a paean to Kali, the Hindu goddess of destruction (Ellen Cantor), a rant calls for a new era ruled by a chaos called the Amorphous Law (Sterling Ruby), and a scene of instinctive aggression is ritually played out in the animal kingdom, (John Espinosa).

    Are these times darker than any other? In a post 9/11 world, Goth has persisted and mutated, perpetuating the general mood of foreboding.

    There will be an opening reception on Sunday November 13 from 4 to 7 pm, featuring a discussion with the artists and curator from 5 to 6 pm.

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