SAD SACK

February 19 - March 5, 2016

 

MARY HILL

 

'The only form of discourse of which I approve,' Miss R. said in her dry, tense voice, 'is the litany. I believe our masters and teachers as well as plain citizens should confine themselves to what can safely be said. Thus when I hear the words pewter, snake, tea, Fad #6 sherry, serviette, fenestration, crown, blue coming from the mouth of some public official, or some raw youth, I am not disappointed. Vertical organisation is also possible,' Miss R. said, 'as in

pewter

snake

tea

Fad #6 sherry

serviette

fenestration

crown

blue

This is a show about loneliness. Personal pizzas that shine sky blue, only slightly burned. Candied chip bags piled up, but empty. I already ate the chips, they were cheddar and sour cream. Balls for games I don't know how to play -- just a bit below regulation sized. When you line them up, I think of planets, as in

pewter

snake

tea

Fad #6 sherry

serviette

fenestration

crown

blue

Pluto is a golf ball, not a planet. A deflated basketball becomes a receptacle for peridot, quartz, and amethyst. Iron is what makes a glaze blue. Iron is what makes an amethyst purple. Everything in this room started as a powder, even the paintings. Clays and glazes are chemically identical to gemstones, mirrors, and iPhone screens. Louis Morris, Agnes Martin, Joan Mitchell, Jackson Pollock -- like cardboard stand-ins for a television in an IKEA living room -- all paintings are minerals masquerading. 

'I run to liquids and colours,' she said

Burlap, canvas, skin, paper. Sack of flour, sack of plaster, sack of bones -- sack, sacking, sacked. The sad sack of gestures is holding what now? A void of a void, art histories playing house, earths from different quarries, failed masculinities, something cosmic, a Netflix menu scrolling, bits of metal and rock, as in

pewter

snake

tea

Fad #6 sherry

serviette

fenestration

crown

blue

 

Excerpts above from Donald Barthelme's "The Indian Uprising,” 1968.

 

SAD SACK is a recent body of ceramic work by Mary Hill and includes a collaborative sculpture with contributions from artists Analisa Raya-Flores, Sarah Hotchkiss, Jesse Malmed, and Ariane Vielmetter. 

The directors of VACANCY will be gone for the length of this show. In absentia, they have invited Sarah Hotchkiss of Stairwell’s and Luca Antonucci of Colpa Press, to be curators-in-residence between January 29th and March 5th. The second of two solo shows presented over their five-week stead, SAD SACK features work by Mary Hill, via Sarah Hotchkiss. This will be exhibition 4.5 of 5 in a series centered on artist couples.   

 

Mary Hill (b. 1984 in Tampa, FL) lives and works in Los Angeles. She received her MFA from CalArts in 2012, and a BA from New College in 2007. Hill's work centers on the body, mortality, and the resistance of the object -- intending to remind the viewer that he too is material. Most recently, she has exhibited at Underdonk in Brooklyn and Vox Populi in Philadelphia -- as well as with the Torrance Art Museum, Commonwealth & Council and the Hammer Museum in Los Angeles. Hill has had residencies at the Shandaken Project, Byrdcliffe Colony, Ox-bow, and Anderson Ranch. She is also co-curator of the arts website and radio show The Monthly on KChung radio.

Sarah Hotchkiss is a San Francisco-based artist, arts writer and one half of the itinerant project Stairwell’s. She holds an MFA from California College of the Arts and a BA from Brown University. She watches a lot of science fiction, which she reviews in a semi-regular publication called Sci-Fi Sundays. Long before either of them lived in California, she met Mary at Club Smell.

 

List of works