THEODORE:ART
56 Bogart St. Brooklyn, NY 11206 • theodoreart@gmail.com • 212.966.4324
Andrew Witkin
ANDREW WITKIN (among others): I took the contents of the second box
and arranged them more systematically in a third box. When I went to label
the box, I didn’t know whether to call it box two or three.


 March 5 – 28, 2010
Stephanie Theodore is pleased, proud, and profoundly moved to present the New York debut of the work of Andrew Witkin. Based in Boston, Witkin creates dynamic work in which surface reveals but also serves to question much more than what can be seen superficially. An investment of time and attention yields ideas, images, associations, experiences, memories, not unlike the reward of true friendship.

The projects Andrew Witkin organizes are in space, are furniture, handmade, anonymous, generous, confusing, welcoming, hermetic, specific, general, contradictory, consistent and more.

“In Witkin’s collection I see an apparently static space whose contents shift about, without any key or legend, and charge visitors to form their own mental inventories, enticing them to disentangle--or perhaps draw lines between--artist and object. In this connoisseurship of the mundane, Witkin emerges both innovative and grounded in very old, unconscious traditions. Inasmuch as the modern museum parallels the ancient temple archive, Witkin becomes magistrate, architect, devotee and priestess (!),” says Athena Kirk.

Conceived of by Witkin, recent winner of the ICA Boston’s biannual Foster Prize, who has a new piece in a group show at the Worcester Art Museum and has had recent solo exhibitions in Seattle at James Harris Gallery and in Boston at Lamontagne Gallery, this project will be the first in New York. Nine pieces by Honore Daumier line a gallery situation created with the collaborative effort of the following people:

Alfred North Whitehead, Alighiero e Boetti, Alvin Krakow, Amy Baker Sandback, Amy Witkin, Andrea Anastasio, Annette Lemieux, Anton Chekhov, Arthur Miller, Barbara Krakow, Benjamin Chaffee, Betty Friedan, Bill Callahan, Bill T. Jones, Boris Groys, Brendan Greaves, Bronlyn Jones, Bruce Nauman, Cary Leibowitz, Damon Krukowski, Dan Shaughnessy, David Ortiz, David Wojnarowicz, Donald Judd, Emily Isenberg, Felix Gonzalez Torres, Franklin D. Roosevelt, Fred Astaire, Federico García Lorca, Gary Neuman, George Herman Ruth, George Orwell, Georgy Kepes, Gertrude Stein, Greg Milner, Hannah Barrett, James Harris, James Michael Curley, Jean Prouvé, Jeffrey Kipnis, Jenny Holzer, Joe Louis, Joe Scanlan, John Dewey, John Keats, Jon Witkin, Jose Luis Blondet, Joshua Reynolds, Judith Butler, Kate Shepherd, Kimon Kirk, Larissa Harris, Lauren Fensterstock, Laurie Parsons, Le Corbusier, Liliana Porter, Lucy Lippard, Manuel de Santaren, Marcia Tucker, Marilyn Monroe, Marlon Brando, Marsha Ginsberg, Martha Rosler, Maryellen Latas, Mel Bochner, Merce Cunningham, Micah Silver, Michael Bernstein, Miriam Blankenship, Mtislav Rostropovich, Nick Tosches, Nicholas Fox Weber, Nina Felshin, Paul Bowles, Paul Bryant, Paula Witkin, Pedro Martinez, Per Gjostrup, Peter Downsbrough, Peter Flaherty, Peter Littlefield, Peter Pakesch, Peter Schjeldahl, Randi Hopkins, Rebecca Solnit, Richard Albright, Robert Barry, Robert Bauer, Robert Hughes, Robert Huot, Robert Smithson, Robert Wilson, Roberta Smith, Roger Witkin, Roy McMakin, Ryan Cross, Sarah Charlesworth, Sasha Frere-Jones, Shellburne Thurber, Skyela Heitz, Sol LeWitt, Stacie Slotnick, Stacy Hill, Stephanie Theodore, Stephen Prina, Suara Welitoff, Su-Mei Tse, Susan Goldwitz, Tatyana Gubash, Thierry Du Duve, Topher Cox, Tricky, Vasif Kortun, Walter Benjamin, William Faulkner, Witold Rybczynski, & Yves Klein, among others

“The overall effect is strangely haunting, at once crowded with memory and desire and devastatingly empty,” said critic Sebastian Smee.

Reference points include:
• Every experience both takes up something from those gone before and modifies in some way the quality
of those which come after. (John Dewey)
• to create an organizational climate that was highly productive and efficient but was also fair,
compassionate and human (Marcia Tucker)
• He recognized the possibility and probability of Terra Incognita beyond the limits of his arbitrary boundary
lines. (Rebecca Solnit)
• It has become almost impossible to not know what’s going on in the world. We’re post-curiousity.
(Vasif Kortun)
• in bars and schools and libraries and courthouses, you know - life as staged by architecture
(Jeffrey Kipnis)
• Creative imagination and sensibilities are neither self-generated nor self-contained. (Gyorgy Kepes)
• I don’t think it’s to name something, but to touch something. (David Wojnarowicz)
• Ideas cannot be owned. They belong to whoever understands them. (Sol LeWitt)
• the state of becoming and being, not merely as ending (Betty Friedan)
• augmented reality rather than virtual reality (Steven Skov Holt)
• Remembering is movement. (Brayten Braytenbach)
• bring the world into the world (Alighiero e Boetti)
• Everyone is a refiner of sensibility. (Yves Klein)
• choreographed by the situation (Simone Forti)
• neither confessional nor abstract (Henri Cole)
• Remarks are not literature. (Gertrude Stein)
• Heisenberg’s principle of uncertainty