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Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Martin Wong, Prison Bunk Beds, 1992, Acrylic on canvas, 60 x 48 inches (152.4 x 121.9 cm)

Martin Wong

Prison Bunk Beds, 1992

Acrylic on canvas

60 x 48 inches (152.4 x 121.9 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Isa Genzken, Untitled, 2017 clothes, mirror foil, glasses, vase, fishing rods, mixed media, 51.18 x 31.5 x 23.62 inches (130 x 80 x 60 cm)

Isa Genzken

Untitled, 2017

Clothes, mirror foil, glasses, vase, fishing rods, mixed media

51.18 x 31.5 x 23.62 inches (130 x 80 x 60 cm)

Andrew Ross, All cartoons are masculine, 2017 clay, fiberglass, primer, plastic, plaster, 56 x 45 x 54 inches (142.2 x 114.3 x 137.2 cm)

Andrew Ross

All cartoons are masculine, 2017

Clay, fiberglass, primer, plastic, plaster

56 x 45 x 54 inches (142.2 x 114.3 x 137.2 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Paul Chan, Pillowsophia (after Pope Offred), 2017, Nylon, fan 228 x 76 x 22 inches (579.1 x 193 x 55.9 cm)

Paul Chan

Pillowsophia (after Pope Offred), 2017

Nylon, fan

228 x 76 x 22 inches (579.1 x 193 x 55.9 cm)

 

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Rachel Harrison, Certificate of No Effect, 2017 Parachute cord; dust mop; digital video, color, silent, 5:58 min looped, 84 1/2 x 166 x 79 inches (214.6 x 421.6 x 200.7 cm)

Rachel Harrison

Certificate of No Effect, 2017

Parachute cord; dust mop; wood; polystyrene; cement; acrylic; digital video, color, silent, 5:58 min looped

84 1/2 x 166 x 79 inches (214.6 x 421.6 x 200.7 cm)

Wally Hedrick, Vietnam Series XX, 1968, Oil on canvas, 64 x 46 inches (162.6 x 116.8 cm)

Wally Hedrick

Vietnam Series XX, 1968

Oil on canvas

64  x 46 inches (162.6 x 116.8 cm)

Wally Hedrick, Vietnam Series XXI, Old Generals Never Die, They Just Send Young People To Their Death, 1966/ 2002, Oil on canvas, 62 x 42 inches (157.5 x 106.7 cm)

Wally Hedrick

Vietnam Series XXI, Old Generals Never Die, They Just Send Young People To Their Death, 1966/2002

Oil on canvas

62 x 42 inches (157.5 x 106.7 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Craig Kalpakjian, Chronotope (render 4), 2015, Inkjet on paper, 88 x 88 inches (223.5 x 223.5 cm)

Craig Kalpakjian

Chronotope (render 4), 2015

Inkjet on paper

88 x 88 inches (223.5 x 223.5 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Mary Ann Aitken, Untitled (Broadway), 1985 - 89, Oil on masonite, 24 x 24 inches (61 x 61 cm)

Mary Ann Aitken

Untitled (Broadway), 1985 - 89

Oil on masonite

24 x 24 inches (61 x 61 cm)

Pope.L, Penis Melting Over The World, 1990; Acrylic, ballpoint and marker on layered and taped newspaper with pushpins in artist's frame, 30 3/4 x 26 inches (78.1 x 66 cm)

Pope.L

Penis Melting Over The World, 1990

Acrylic, ballpoint and marker on layered and taped newspaper with pushpins in artist's frame

30 3/4 x 26 inches (78.1 x 66 cm)

Dan Flavin  Untitled, 1969  Two 48-inch blue, two 24-inch pink, one 24-inch yellow lights and fixtures  96 inches across the corner (244 cm across the corner)

Dan Flavin

Untitled, 1969

Two 48-inch blue, two 24-inch pink, one 24-inch yellow lights and fixtures

96 inches across the corner (244 cm across the corner)

Mary Ann Aitken Untitled (Gratiot and Broadway), circa 1985-89, Oil on masonite, 24 x 24 inches (61 x 61 cm)

Mary Ann Aitken

Untitled (Gratiot and Broadway), circa 1985-89

Oil on masonite

24 x 24 inches (61 x 61 cm)

Tony Conrad, Bryant Park Moratorium Rally, 1969. Two-channel audio installation, wall vinyl, 50 x 107 3/4 inches (127 x 273.7 cm)

Tony Conrad

Bryant Park Moratorium Rally, 1969

Two-channel audo installation

50 min. 51 sec.

Craig Kalpakjian, Units (render 4), 2017, Inkjet Print, Framed: 37 x 37 inches (94 x 94 cm)

Craig Kalpakjian

Units (render 4), 2017

Inkjet Print

Framed: 37 x 37 inches (94 x 94 cm)

Lee Lozano, No title, n.d., crayon and graphite on paper, 8 3/4 x 11 1/4 inches (22.2 x 28.6 cm)

Lee Lozano

No title, n.d.

Crayon and graphite on paper

8 3/4 x 11 1/4 inches (22.2 x 28.6 cm)

Lee Lozano, No Title, 1963-64, Graphite on paper, Paper: 8 1/2 x 10 1/4 inches (21.6 x 26 cm) Framed: 11 x 12 7/8 x 1 1/4 inches (27.9 x 32.7 x 3.2 cm)

Lee Lozano

No Title, 1963-64

Graphite on paper

Paper: 8 1/2 x 10 1/4 inches (21.6 x 26 cm)

Framed: 11 x 12 7/8 x 1 1/4 inches (27.9 x 32.7 x 3.2 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Men at War, 1975 Nine framed black & white fiber prints Framed dimensions, each element: 15 1/4 x 12 1/2 inches (35.5 x 28 cm)

Lutz Bacher

Men at War, 1975

Nine framed black & white fiber prints

Framed dimensions, each element: 15 1/4 x 12 1/2 inches (35.5 x 28 cm)

Tetsumi Kudo, Souvenir-La Mue (Memory-Pupal Skin), 1967, Acrylic on plastic flowers and mixed media in painted cage 13 3/4 x 15 1/3 x 9 7/8 inches (34.9 x 38.9 x 25.1 cm)

Tetsumi Kudo

Souvenir-La Mue (Memory-Pupal Skin), 1967

Acrylic on plastic flowers and mixed media in painted cage

13 3/4 x 15 1/3 x 9 7/8 inches (34.9 x 38.9 x 25.1 cm)

Installation view, Walking Point, Greene Naftali, New York, 2018

Installation view, Walking Point, Greene Naftali, New York, 2018

Danger, 2017 Danger tape, printed plastic 66 rolls: 2 7/8 x 5 3/4 inches (7.3 x 14.6 cm) each Overall dims: 5 3/4 x 198 x 5 3/4 inches (14.6 x 502.9 x 14.6 cm)

Danger, 2017

Danger tape, printed plastic

66 rolls: 2 7/8 x 5 3/4 inches (7.3 x 14.6 cm) each

Overall dims: 5 3/4 x 198 x 5 3/4 inches (14.6 x 502.9 x 14.6 cm)

 

Press Release

Walking Point

 

February 16th – March 10th, 2018

Ground Floor

 

Mary Ann Aitken             Wally Hedrick

Craig Kalpakjian              Paul Chan

Tetsumi Kudo                   Tony Conrad

Lee Lozano                        Dan Flavin

Pope.L                                 Isa Genzken

Andrew Ross                     Rachel Harrison

Martin Wong

 

The mechanisms and effects of war are often designed to be obscured, if not entirely hidden. Since World

War II, and especially since Vietnam, the state and military industrial complex have fueled a nearly

continuous, largely unremarked-upon series of armed conflicts, all the while implicating unwitting American

subjects in that perpetuation. At the time of this exhibition the United States is at war in at least six

countries in the Middle East and North Africa, and is embroiled in further battles throughout the world.

Mainstream and social media have made abuses of state power more visible in the past decade, helping to

stoke ever-spreading flames of dissent, like in the late ’60s; yet the media also tends to under-report on

atrocities overseas, and to uphold establishment power structures at home.

 

These structures often rely on private funding as well as systems and technologies developed for combat

and securitization that, more and more, saturate everyday life. But it’s nearly impossible to comprehend the

extent of this saturation, not just abroad, where civilians in the above-mentioned regions consistently face

the effects of violent, expensive imperialism, but also here in the United States, where the state saps data,

money, time, and other resources from its subjects in its efforts to maintain a state of war, a state of

exception. Forty-plus years since the provisional end of Vietnam, amid what Stephen Graham has called

“the new military urbanism,” vulnerable people across the globe are, in effect, often “walking point”

whether they know it or not.*

 

The artists in Walking Point  take different approaches to uncovering the aims and effects of the

contemporary militarized, corporatized state. In many cases coming from or looking to the American avantgardes

of the Vietnam era, the artists employ strategies of abstraction and appropriation to demonstrate

how the cloudy structures around us are built, maintained, and manifested—and how, in the shadow of

never ending war, those structures lay waste to the bodies and finances of the subjects they rely upon.

 

* “‘Walking point’ on patrol in Vietnam meant being the first to face ambush, sniper fire, or booby traps.

According to one account, this duty meant a man needed to develop a ‘sixth sense for danger’ in order to protect

himself and his comrades” (http://www.historybyzim.com/2012/07/walking-point-vietnam-1966/). The exhibition's

title refers to Walking Point: An Infantryman's Untold Story by Michael H. Cunningham (2016).