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  • Provenance

    No Limits Events Gallery, Milan

  • Catalogue Essay

    “Even after poststructuralism's contestation of subjectivity and conceptualism's demolition job on the art object, a stubborn residue remains. For lack of a better term, Meg Cranston calls this residue "soul," and works at its contours with lyrical wit,” (I. Nico, “Meg Cranston – Boesky & Callery,” Artforum International, June 1997). ‘Conceptualism” all too often connotes a humorless aridity and a stereotype of artists so focused on theory and process that they neglect the art objects they produce (or do not produce, in many cases). Los Angeles-based conceptualist Meg Cranston, however, is not one of these—to say that she has been productive since the 1980s would be a gross understatement: drawings, paintings, sculptures, performances, installations and writings constitute just part of a body of work that approaches history, cultural memory and the body with a combination of anthropologically-informed insights and a Kippenberger-esque irreverence. American History (Condensed Version) (1994) is comprised of a massive collection of snapshot-sized postcards and installed as if wallpaper; in it the history of the United States plays out in a dizzying array of found imagery: paintings, photographs, and texts from all eras, a veritable scrapbook of the American cultural subconscious.

122

American History Condensed Version

1994
Recycled American postcards.

Installation dimensions variable. It is the artist's intention for the installation to be varied in color, theme, era and type with little repetition; the work is to be displayed in a corner covering the entirety of the walls.

Estimate
£8,000 - 12,000 

The Marino Golinelli Collection

Collection
13 October 2007, 1pm
London