This weekend (March 19th and 20th): DEP ART presents Sincerity (The Post-Americans), curated by Devon Watson
This Friday and Saturday (March 19th and 20th), DEP ART will present a two-day pop-up exhibition in Bushwick curated by VCS alumna Devon Watson. The show’s opening reception will take place on Saturday the 19th from 7 to 10:30 pm. Here’s a brief comment from Devon:
The pop-up gallery I was in residence at over the summer has morphed into a nomadic art group that sponsors shows and happenings, now called DEP ART. They are helping to present the show, which I’ve called Sincerity (The Post-Americans).
I am acting as artist-as-curator, and am also participating in the show. Current VCS senior Ben Lee Sperry is also one of the artists included!
The following excerpt from DEP ART’s exhibition announcement offers more information:
- SINCERITY (THE POST-AMERICANS)
- Curated by Devon Watson
- March 19th – 20th, 2016
- 272 Seigel St, Brooklyn 11206
- Opening reception: March 19th, 7pm – 10:30pm
DEP ART is pleased to announce the exhibition: SINCERITY (THE POST-AMERICANS), a group exhibition curated by our artist-in-resident Devon Watson, who takes the role of artist as curator. The exhibition features the works of Peter Kašpar, Jillian Mayer, Benjamin Lee Sperry, Quinn Tivey, and Devon Watson. SINCERITY (THE POST-AMERICANS) will be on view from March 19th through March 20th, 2016 at 272 Seigel. An opening reception will be held on Saturday, March 19, from 7-10:30 pm.
The fin-de-millennium broke before an incredulous world; a devastating wave of media and light, sweeping away the smoking industrial pipe-dreams of the 20th century. A sixth of a century has passed and the first generation of digital natives* still stand on the shore, awash in the digital sublime, overwhelmed with visuality and reverberation, their voices lost in the wind. Our current generation of artists is the first to address the symptoms of a Post-American identity crisis, which is itself symptomatic of what Guy Debord called “the glitter of spectacular distractions”— along with an unprecedented shift toward aphorism, and a celebration of surface and shine (a hopelessness disguised as excess). We can see our faces in so many mirrors, but would we fathom our souls if we came across them? The great empire of American-ness has broken, and her spectre sinks slowly off the shore, bleeding hubris, heroism, and fantasy. The image is made and makes itself again, it makes and remakes us, and together we fall into the great sea of ambiguity.