Drew Heitzler
dal 18/11/2009 al 22/1/2010
Segnalato da
18/11/2009
Drew Heitzler
Renwick Gallery, New York
A new work. James Renwick, Delta Psi, The Cathedral of St. Augustine, Henry Flagler, John D. Rockefeller, Standard Oil, Atlas, IG Farben, Mickey Mouse, Leni Riefenstahl, Columbia Pictures, John Ford, Elia Kazan, Arthur Miller, Marlon Brando, The Ear Inn, John Garfield, Budd Schulberg, The House Un-American Activities Committee, Red Channels, The Hollywood 10, Leonard Bernstein, Zero Mostel, Edward G. Robinson, The US Communist Party, and Donald Duck as a Nazi.
Renwick Gallery is pleased to present for Rats, Pigeons, Canaries, an exhibition of new work by Drew Heitzler. This is Drew Heitzler's first exhibition at Renwick Gallery.
James Renwick, Delta Psi, The Cathedral of St. Augustine, Henry Flagler, John D. Rockefeller, Standard Oil, Atlas, IG Farben, Mickey Mouse, Leni Riefenstahl, Columbia Pictures, John Ford, Elia Kazan, Arthur Miller, Marlon Brando, The Ear Inn, John Garfield, Budd Schulberg, The House Un-American Activities Committee, Red Channels, The Hollywood 10, Leonard Bernstein, Zero Mostel, Edward G. Robinson, The US Communist Party, and Donald Duck as a Nazi.
A weird collection it was: bums [canaries?]... Mostly bums. Up from the winter sunlight of Union Square and a few gibbering pigeons for loneliness; up from the Chelsea district and down from the hills of Harlem for a little sea-level warmth sneaking glances from behind the concrete pillar of an overpass at the rusty Hudson and its tugs and stonebarges (what in this city pass, perhaps, for dryads: watch for them the next winter day you happen to be overpassed, gently growing out of the concrete, trying to be part of it or at least safe from the wind and the ugly feeling they—we?—have about where it is that persistent river is really flowing); bums from across both rivers.
The city – maybe America, his horizons didn't extend that far—would belong to the rats before the year was out. This being the case, Father Fairing thought it best for the rats to be given a head start—which meant conversion to the Roman Church. One night early in Roosevelt's first term, he climbed downstairs through the nearest manhole, bringing a Baltimore Catechism, his breviary and, for reasons nobody found out, a copy of Knight's Modern Seamanship. The stories, by the time Profane heard them, were pretty much apocryphal and more fantasy than the record itself warranted. At no point in the twenty or so years the legend had been handed on did it occur to anyone to question the old priest's sanity. It is this way with sewer stories. They just are. Truth or falsity don't apply.
Drew Heitzler (b. 1972 in Charleston, South Carolina) lives and works in Los Angeles, California. Heitzler received his MFA from Hunter College in 2000. His films and film based projects have been screened and exhibited internationally at galleries and institutions including The Project, Orchard Gallery, The Swiss Institute, Sculpture Center, Anthology Film Archives, and PS1 Contemporary Art Center in New York, Redling Fine Art, China Art Objects, and LAXART, in Los Angeles, Zacheta National Gallery of Art, in Warsaw, Poland, Kunstmuseum St. Gallen, in St. Gallen, Switzerland, and Magasin Centre National d'Art Contemporain, in Grenoble, France. Drew Heitzler's work (in collaboration with Amy Granat) was included in the 2008 Whitney Biennial. Upcoming exhibitions will be presented in Los Angeles at Blum and Poe Gallery in December 2009 and in Miami at Locust Projects in March 2010.
Image: Untitled (Baldwin Hills)
Opening Reception on Thursday, November 19, 2009. 6-8PM
Renwick Gallery
45 Renwick Street New York, NY 10013