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Category Archives: Statement

“I don’t necessarily feel part of a specific movement, but I do feel like there are kindred spirits out there among my peers. What’s at stake is that each generation has the opportunity to reevaluate narratives of the past in a manner that makes sense in the present. Ideas tend to recirculate, but they might mean something completely different in today’s context. It’s important to restate them in new ways in order to better communicate them, and to engage with them not always in opposition but in response.

Specifically, I consider myself to be coming out of and responding to the Robert Ryman camp of how-to-paint over the what-to-paint. The BMPT group [Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni] was very significant to me in grad school, as well as Supports-Surfaces. From these artists, I took away an understanding of painting as an apparatus that could be dismantled and rebuilt toward new meanings. I was also influenced by many of the artists featured in the exhibition High Times, Hard Times. Artists such as Ree Morton and Howardena Pindell were a revelation for their insistence on experimenting with materials and injecting subjectivity into the work without turning out overtly historic, expressionistic artworks. I see myself as building from all these perspectives, not just one singular history.”

– Alex Olson (Walker Art Center Interview with Eric Crosby)


A work like the “The Visitors” has all the strengths of the classical Romantic sensibility, and some of its potential weak points too. It offers a glimpse into a more ecstatic world; you really want to be these people, be invited to this party. It dwells in a kind of self-enclosed universe, spellbound by images of otherwordly artists and majestic decay. Like classic Romanticism, which arose as a kind of personalistic reaction to European industrialization, such a neo-Romantic temperament draws its power as an implicit reproach of the kind of dispirited, non-ecstatic lives we normally live. Unalloyed, of course, this sort of thing might also become a kind of cloying, self-involved theater — indeed, you might even say that Kjartansson subtly thematizes the sense of wallowing in fantasy, since being stuck in art is a theme, both in this film with its endless, trance-like choruses, and in his work more generally. It’s this minor-key background note that lets “The Visitors” resonate as both out of time and of its time at once.

Ragnar Kjartansson’s “Visitor’s” (Artinfo Review)

“One of most intriguing aspects about art today is its entanglement with theory. In fact, contemporary art practice is now so highly saturated with theoretical knowledge that it is becoming a research practice in and of itself. Artists have not only taken up art criticism and negotiations, they now also integrate research methods and scientific knowledge into their artistic process to such a degree that it even seems to be developing into an independent form of knowledge on its own.”

Kathrin Busch (art & research editorial)


“My tastes in art are not dissimilar from my taste in music (Wire, Big Black, Joy Division) or movies (Kubrick, Bunuel, Scorsese) all of which tend towards angst, black humor, irony, obliqueness, existentialism, and anti-heroics (and in the case of the movies, intense, well-constructed visuals.) That said, the shows I’ve done at the MCA are only a partial reflection of my taste (and my taste as mediated by the larger vision of the institution.)

I think many of the shows that I’ve done here at the MCA reflect my interest in work that has a certain tension between emotionally intense content or subject matter and coolly detached formal execution (Sharon Lockhart, Gillian Wearing, and to some degree Wolfgang Tillmans.) Other artists I really admire/would love to work with include Mike Kelley, Aida Ruilova, Richard Kern, Jim Lambie, Eva Rothschild, Richard Hawkins, Paulina Olowska, Douglas Gordon, Richard Rezac, Slater Bradley, Marc Camille Chaimowicz, Paul McCarthy, Richard Prince, Daria Martin, Anselm Reyle, and Ashley Bickerton, among many many others.

I think my taste is a little more inclined towards weirder and more willfully dark and perverse things than it was a while ago (when I was much more conceptually-minded.) I’m not a huge fan of overly earnest, overproduced, and melodramatic video or photography, and am not so keen on do-gooder art (socially progressive endeavors masquerading as art).”

– Dominic Molon (Chicago Artist Resource interview)

“Art is individualism, and individualism is
a disturbing and disintegrating force.
There lies its immense value.
For what it seeks is to disturb monotony of type,
slavery of custom, tyranny of habit, and
the reduction of man to the level of a machine.”
-Oscar Wilde (The Soul of a Man Under Socialsim, 1891) {Liberty-Tree}

Dubuffet’s concept of Art Brut, or Raw Art, was of works that were in their “raw” state, uncooked by cultural and artistic influences. He built up a vast collection of thousands of works, works which bore no relation to developments in contemporary art and yet were the innovative and powerful expressions of a wide range individuals from a variety of backgrounds.

Raw Vision (What is Outsider Art?)

If I had only one word with which to characterize the work of Bernardi Roig, it would be obsession…Roig speaks to the viewer through his solitary man; the human body and its symbols, reflecting on the meaning of life itself. He forces us to confront our desires: the human concepts of progress and social change, which remain unfulfilled. With these illusive, undefined objectives the artist invites a dialogue on the multiple identities of contemporary man, seen in the light of art and philosophy…For Roig, desire is the only thing that keeps death at arms length. It is this tangible proof that we are here, struggling to achieve higher consciousness, that defies the vacuum of meaning that exists in a large part of present day art…

Bernardi Roig (Claire Oliver NY)

Exit Art is an independent vision of contemporary culture prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 28-year-old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo. It has grown from a pioneering alternative art space into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always changing.

EXIT ART ( Mission Statement)