Christine Corday combines the sciences with the fine arts to create a unique body of work that investigates the very stuff and definition of space and the universe. Her site-specific installation at CAM—Corday’s first solo show exhibited inside a museum—is anchored by RELATIVE POINTS, a twelve-piece installation of monumental works as well as the debut of a new hybrid, large-scale painting series, Primer Grey, Centers for Gravity. Each of the RELATIVE POINTS is fashioned through a cold-cast process compressing 10,000 pounds of elemental metal and metalloid grit into form. Eleven of the works will be placed in the gallery in a “non-random constellation” designed by the artist and another will sit outside in CAM’s courtyard. The outer edges of the sculptures have various levels of permanence—with some of the surface layers eventually changing shape, sloughing off, or even crumbling as a consequence of subtle friction produced by visitor interaction. No matter what the construction and life of the works, Corday is insistent that each be touched by viewers, underscoring the importance of the human body in completing the work of art.
Christine Corday: RELATIVE POINTS is organized for the Contemporary Art Museum St. Louis by Lisa Melandri, Executive Director.
The exhibition and catalog are generously supported by Barrett Barrera Projects, Penny Pennington and Michael Fidler, and Alexandria and Peter Strelow. Additional support is provided by Ann Ruwitch and John Fox Arnold. The Artist Talk is generously supported by the Robert Lehman Foundation. Special thanks to Christopher Powers, Paul Henry McMahill, Jack Palmer, George Murello, and Jeff Hartz.
projects+gallery is pleased to announce the opening of sky every day, a group exhibition curated by Jessica Baran that will open Thursday, January 10th, 5-8 PM and remain on view through March 2nd.
sky every day, titled after a 1968 poem by Aram Saroyan, is a group exhibition of work in which materials function literally rather than metaphorically — locating the expressive gesture in principal choices, processes and forms rather than the illusionistic tradition of descriptive marks. Artworks here communicate across disjunctive gaps within the gallery similar to spare, enjambed lines of Minimalist poetry — a formal genre in which words, punctuation and syntax become primary media. For instance, Christine Corday’s untitled white monochromatic paintings on aluminum (all 2017), distinguished only by a slight bend or fold, act as counterpoints to Keef Winter’s “High Street Girl 2” (2016), a monochromatic powder-coated pink painting on aluminum, vigorously hand-pounded by a hammer — the irregular and shadow-pocked contours of which become all the more heightened next to the crisp-edged, flat expanse of Joshua Smith’s untitled monochromatic pink painting on canvas (2011). Similar to Saroyan’s focused use of prosody and the space of the page for underscoring the materiality of language, the works presented here require the physical space around them and incidental environmental conditions such as light to assist in articulating their non-pictorial visuality.
sky every day features work by Christine Corday, Paul Cowan, N. Dash, Tom Friedman, Michelle Grabner, Ajay Kurian, Roman Liška, Anthony Pearson, Richard Serra, Joshua Smith and Keef Winter.
January 10, 2019 - March 2, 2019
Opening of Christine Corday's GENESES
Commissioned Work by City and County of San Francisco for inclusion within the Civic Art Collection, as overseen by San Francisco Arts Commission.
Installation October 2018
360 x 408 x 84in / 914 x 1036 x 213cm