January 14 - February 21, 2004
Opening Reception: Saturday, January 24th, 6-8pm
Exhibition opens to the public Wednesday, January 14, 11am

MAIN SPACE: William Pope.L eRacism

This exhibition marks the first comprehensive look at William Pope.L's 25 years of work in all media, including performance, installation, and sculpture. Citing social conundrum as the engine that drives his work, Pope.L addresses contemporary issues such as class, consumerism, and culturally embedded racism with dark humor and biting critique. His installations use unconventional materials, including peanut butter, mayonnaise, and Pop Tarts to provoke a closer examination of the "stuff" of everyday life and to raise questions about art as a commodity. Notorious for his performances, including the digestion and regurgitation of the Wall Street Journal, and crawling in gutters throughout the world wearing a business suit, Pope.L investigates violent and visceral propositions for the body. According to the artist's dictum "Race becomes You", and his own body becomes the site on which to play out, literalize and interrogate stereotypes.

eRacism was funded by The Andy Warhol Foundation for the Visual Arts, the Rockefeller Foundation, and the LEF Foundation.

This exhibition is organized by the Institute of Contemporary Art at Maine College of Art, DiverseWorks Artspace, and the Portland Institute for Contemporary Art and curated by Mark H.C. Bessire, Stuart Horodner, Sara Kellner, and Diane Barber

Saturday, January 24th / 3 pm at Artists Space
Dialogue: William Pope.L & Lowery Sims, moderated by Christian Rattemeyer. Free.
Lowery Sims is the Executive Director of the Studio Museum in Harlem (NY) and a contributor to the exhibition catalogue William Pope.L: The Friendliest Black Artist in America.

William Pope.L is also on view at:
Mason Gross School of the Arts
Exhibition dates: January 5 - February 5, 2004
Opening Reception: Thursday, January 22, 5:00-8:00pm
Middlesex County Speaks with the Artist: Sunday, January 25, 2:30-4:30pm
Artist's Talk: Wednesday, February 4, 6:30pm
Rutgers University
33 Livingston Avenue
New Brunswick, NJ 08901
(732) 932-2222

Panel discussion on William Pope.L and eRacism: Tuesday, February 3, 7:00-9:00pm
Panel discussion takes place at:
Paul Robeson Cultural Center
Rutgers University
600 Bartholomew Road
Piscataway, NJ 08854

The Project
Exhibition dates: January 7 - February 8, 2004
37 West 57th Street, 3rd floor
New York, NY 10019
(212) 688-4673
www.elproyecto.com

William Pope.L, Eating the Wall Street Journal, 2000, mixed media installation, 8' x 8' x 11.5'	William Pope.L, Beginning of the World (detail), 1998, mixed media, 3' x 6" x 192"	William Pope.L, Party Room (detail), 2001, mixed media, 8' x 8' x 8'

ARCHITECTURE AND DESIGN PROJECT SERIES
An Te Liu Tackiness and Anti-Power

An Te Liu, still from Prepared Ground, 2003, Color film transferred to DV, 13:30 loop	An Te Liu, Complex (tower of Squash no. 1), 2003, marking tape on acrylic	custom paint color used for Regulation Playing surface

Exploring the rules, codes, and representations of 'game-space'-the carefully painted surfaces that delineate functions and govern activity in the realm of leisure and competitive sport-An Te Liu's new work brings together painting, sculpture, design, and performance. Tackiness and Anti-Power is concerned with different traditions of abstraction that have profoundly informed both art and architectural practices. Referencing table tennis, multi-use gymnasium floors, and other game surfaces, coating becomes coding, lines become boundaries, colors become rules, and surfaces become activated.

This project is funded, in part, by The Canada Council for the Arts.

PROJECT SPACE:
Adam Putnam Magic Lanterns
Curated by Liz Campbell, part of the Emerging Curators Series

< Adam Putnam, Untitled, 2003, graphite and ink on paper, 11 x 8.5"

Adam Putnam creates haunted, psychosexual spaces through his practice in performance, photography and video. His Magic Lantern series is based on the optical devices of the same name that were popularized in the Victorian Age and were, with photography, the precursors of cinema. Through anamorphic manipulations of perspectival space these illuminated set-ups explore the ways in which architectural interiors such as rooms, houses, and corners can contain an evil paranormal presence.