ED103: A Biographical Exhibition
May 2 - June 14, 2014
Since 1996, the LINE MARKER PROJECT has explored an interest in the historical authenticity and the socio cultural meaning of ordering devices. The line marker's role and continued significance as a global communication emblem - from its cold, coded meaning to its poetic impulses in popular culture continues to develop the line marker as the emblem of movement - urban, rural, city, country and the space in-between. As a research project as much as a contemporary painting praxis, the line marker's origins and authorship were concurrently developed as an integral part of the project and began to be fully examined in Detroit in 1999 and further in 2001 in Trenton, MI. Unveiling Edward Hines and the line marker's inception narrative, established further subject/content for studio endeavours - painting and performance works, culminating in the formal exhibition, 1911, McMaster Museum of Art, Hamilton, ON in 2002.
'Authorship', as an entity tethered to invented devices from the industrial age, seem to still be a relevant premise. Individual ingenuity authoring out-of-the-blue ideas within a world less effected by an 'everything-has-been-done' lens is worthy of exploring. Although this aspect of 'then and now' is not the content of ED103; it sets the perceptual stage. Putting objects (or asking the viewer to) in a certain time and place - specifically a world of apprenticeship and analog technologies - tethers art to a material sensibility developed and found by the touching of things.
'Posterity' is something to chase as well.
Within ED103, exploring the function and historicity of archive photography and specifically the documentary portrait as a record of civic service, is considered. Formal portrait photographs in America pre-WW1 were not as ubiquitous or more to the point democratized as one might think. Thus, images of this genus must be contextualized not only through/by their function but through/by their occasion. The varied images of Hines and their manipulation presented within this exhibit, both reveal and conceal existent manners and mores.
Supported by attributed objects of Hines' 'day', as well as letters/correspondence of his business (including to Henry Ford); Hines' image and his personal arc, alike his road device, communicates 'old-world' or antediluvian while also modern/post-modern in its'/ his angst. This facet is an oscillating tension within all line marker endeavours.
Titled as a university or colleague course syllabus; the exhibition ED103 offers a selection of Wells' ongoing media - painting, performance images and text works - as well as new work in the form of archive documents, found objects and formal sculpture.
May 2 - June 14, 2014
Since 1996, the LINE MARKER PROJECT has explored an interest in the historical authenticity and the socio cultural meaning of ordering devices. The line marker's role and continued significance as a global communication emblem - from its cold, coded meaning to its poetic impulses in popular culture continues to develop the line marker as the emblem of movement - urban, rural, city, country and the space in-between. As a research project as much as a contemporary painting praxis, the line marker's origins and authorship were concurrently developed as an integral part of the project and began to be fully examined in Detroit in 1999 and further in 2001 in Trenton, MI. Unveiling Edward Hines and the line marker's inception narrative, established further subject/content for studio endeavours - painting and performance works, culminating in the formal exhibition, 1911, McMaster Museum of Art, Hamilton, ON in 2002.
'Authorship', as an entity tethered to invented devices from the industrial age, seem to still be a relevant premise. Individual ingenuity authoring out-of-the-blue ideas within a world less effected by an 'everything-has-been-done' lens is worthy of exploring. Although this aspect of 'then and now' is not the content of ED103; it sets the perceptual stage. Putting objects (or asking the viewer to) in a certain time and place - specifically a world of apprenticeship and analog technologies - tethers art to a material sensibility developed and found by the touching of things.
'Posterity' is something to chase as well.
Within ED103, exploring the function and historicity of archive photography and specifically the documentary portrait as a record of civic service, is considered. Formal portrait photographs in America pre-WW1 were not as ubiquitous or more to the point democratized as one might think. Thus, images of this genus must be contextualized not only through/by their function but through/by their occasion. The varied images of Hines and their manipulation presented within this exhibit, both reveal and conceal existent manners and mores.
Supported by attributed objects of Hines' 'day', as well as letters/correspondence of his business (including to Henry Ford); Hines' image and his personal arc, alike his road device, communicates 'old-world' or antediluvian while also modern/post-modern in its'/ his angst. This facet is an oscillating tension within all line marker endeavours.
Titled as a university or colleague course syllabus; the exhibition ED103 offers a selection of Wells' ongoing media - painting, performance images and text works - as well as new work in the form of archive documents, found objects and formal sculpture.