Curatorial Projects > Detritus (2017)


A group exhibition featuring Carlo Abruzzese, Gale Antokal, Kathy Aoki, Michael Arcega, Zeina Barakeh, Jeremiah Barber, Lauren Bartone, Terry Berlier, Elisheva Biernoff, Evan Bissell, Libby Black, Lisa K. Blatt, Val Britton, Leo Bersamina, Drew Cameron, Jim Campbell, Julie Chang, Randy Colosky, Ilana Crispi, Pablo Cristi, Keith Daly, Reed Danziger, Mel Day, Lauren DiCioccio, Chris Dorosz, Ala Ebtekar, Amy Ellingson, Ian Everard, Rodney Ewing, Kota Ezawa, Bruno Fazzolari, Adam Feibelman, Steve Ferrera, t.w.five, Linda Gass, Tanja Geis, Sheila Ghidini, Julia Goodman, Michael Hall, Dana Harel, Emanuela Harris-Sintamarian, Liz Harvey, Chad Hasegawa, Daniel Healey, Jamil Hellu, Dana Hemenway, Jonn Herschend, Liz Hickok, Amy M. Ho, Desirée Holman, Mildred Howard, Cynthia Ona Innis, Carrie Iverson, Colter Jacobsen, Jason Jägel, Robin Kandel, Scott Kildall, Jane Kim, Beth Krebs, Tony Labat, Carrie Lederer, Sarah Lee, Crystal Liu, Monique D. Lopez, Whitney Lynn, Wendy MacNaughton, Mail Order Brides/M.O.B., Kara Maria, Darrin Martin, Indira Martina Morre, Joyce Nojima, Jann Nunn, Sandra Ono, Kari Orvik, Gay Outlaw, Francesca Pastine, Alison Pebworth, Ben Peterson, Yulia Pinkusevich, Joey Piziali, Ferris Plock, Genevieve Quick, Kate Rhoades, Ricardo Richey, Laura Rokas, Leah Rosenberg, Diane Rosenblum, Kimberly Rowe, Surabhi Saraf, Ron Saunders, Alex Schofield, Zachary Royer Scholz, Adam Shriverdecker, Chris Sicat, Greg Stimac, Josephine Taylor, Weston Teruya, Chris Thorson, Ehren Tool, Kelly Tunstall, Tiffanie Turner, Holly Van Hart, Jamie Vasta, Annie Vought, Julian Watts, Heather Wilcoxon, and May Wilson

Co-curated with Lisa Ellsworth and Lordy Rodriguez

June 25 - September 10, 2017
San Jose Institute of Contemporary Art
San Jose, CA

Process, materiality, concept, engagement, and marketability are among the metrics by which we measure the value of art. Sometimes the focus is so guided by one or more of these metrics that the resulting artwork serves as a document of these attributes. Hidden from public view, residual evidence of art production does not hold ostensible market value, despite the worth artists often assign to their practice. This exhibition delves into this valuation and explores the leftover scraps and byproducts of the art-making process that artists do not discard for a number of compelling and emotional reasons. Why do artists keep these artifacts? What is the significance of a wall marked by an accumulation of paint and fingerprints spanning a lifetime of studio work? What does a jar full of pencil shavings reveal about the studio practice of an artist who draws?

Taking inspiration from the field of forensics, we find these markings serve as clues to a bigger picture and practice. This exhibition examines the detritus from a multitude of Bay Area artists’ studios in order to shift the focus from art as commodity to the core value of art making. Much like forensic scientists who collect, preserve, and analyze evidence during an investigation, we have mined storage boxes and materials, gaining insight into the unique and similar behaviors of artists who archive the evidence of their work.

By featuring no works of art, we invite both viewers and participating artists alike to consider their own valuation system when looking at and thinking about art. In this display of materials gathered from more than 100 artists, we offer a glimpse into the time and labor spent in producing their work.