Processed Cheese is the second exhibition in a series of curatorial riddles with subtle political undertones.
On view are:
The dust jacket for Stephen Wright’s novel, Processed Cheese (2020)
A hand-painted copy of Ed Ruscha’s Actual Size (1962), rendered by Triple Candie at less than half its scale. Rusha’s painting was included in the Museum of Modern Art’s legendary exhibition High and Low: Modern Art and Popular Culture. The ersatz object, or prop, was exhibited in Triple Candie’s Kirk Varnedoe: In the Middle at the Modern at the Telfair Museum, Savannah, Georgia, 2017
A hand-painted detail of Actual Size, realized by Triple Candie and similarly exhibited in Savannah, Georgia
An unattributed felt wall-hanging
The bottom of a paint can caked with a half-inch of dried yellow acrylic paint
A yellow plastic object atop a composite rock, fabricated by Triple Candie as a bastardized recreation of Carl Andre’s 144 Blocks and Stones (1973) for the exhibition Being Present: Revisiting, Somewhat Unfaithfully, Portland’s Most Experimental Art Experiment, PCVA (2019–20)
An unattributed abstract “aboriginal-style painting”
A tangle of wire with clear plastic beads and a doodley ding-dong
A synthetic-orange wig with lemon net bag. The wig was worn by Triple Candie in a faux-documentary video included in Of the Siren and the Sky at the Utah Museum of Contemporary Art (2012). The biographical exhibition’s subject was Siren Bliss (aka Michael Whipple, aka Sky Jones), an artist, mystic, and Salt Lake City native
Two intimate assemblages—an orange dinosaur with a doodley ding-dong on a block of marble, and a plastic palm tree inserted into a clay form atop a fake turd
To the left, barely visible in the dark glass doorway, is a throw pillow with the splayed face of a stuff frog, its edges frilled with black and white feathers. On the floor below, a wall text quotes from a recent book review by Geoff Dyer:
“[Her] world is symbol-strewn but even under the most excruciating academic inquisition, all objects persist in the function for which they were intended, and heavy rain remains just another storm to be weathered.”*
*Geoff Dyer,New York Times book review (Sunday, January 16, 2022). Dyer is writing about the reissue of Elizabeth Taylor’s Mrs. Palfrey at the Claremont.
