I Would Prefer Not To
logo of Art150

October 13 – November 19, 2023
Gallery 14C
157A 1st Street, 2nd floor

Exhibition curated by Kele McComsey, Director of Mana Contemporary

The phrase “I would prefer not to” may be one of the most indelible spoken lines in American literature. The declaration derives its power from giving the slightest impression of hope that Herman Melville’s Bartleby may still fall in line with his fellow employees and do as he is told—thereby softening the true defiance of the statement.

The simple addition of “would” and “prefer” creates a complex scenario where the appropriate answer is not readily available. How does one reply to someone “who would prefer not to” participate in society, follow the perceived “social norms,” and do as they are told or expected? The phrase creates more confusion, frustration, and inner dialogue than outright anger, and forces the person on its receiving end to think rather than merely respond. Had Bartleby instead chosen to use the phrase “F___ you, I won’t do as you tell me”, a repeated lyric in Rage against the Machine’s 1992 song “Killing in the Name,” it would have elicited an immediate response without the same introspection, while also granting a form of justification due to a sense of provocation.

“Nothing so aggravates an earnest person as a passive resistance,” Melville wrote in Bartleby the Scrivener (1853). This exhibition seeks to show the importance that artists have in these times by connecting their work to the same spirit of Bartleby’s repeated line of passive resistance. Like Bartleby, we need artists who “would prefer not to” live by the rules if it means overlooking the injustices, inequities, and failures of our systems and exploring the complexities of the human condition. In these days of media overload and global connectivity, where considered language seems nearly obliterated, there seems to be only reaction and immediate response, then hit send. We need to be made to feel uncomfortable if the end result is that it makes us all think, reconsider, and have true dialogue that results in meaningful action.

I Would Prefer Not To will be on view at in the main gallery at Art150 through November 19, 2023
157A 1st Street, 2nd floor

for more information, or to make an appointment, contact [email protected]

artists

Kristian Battell


C8H20O5P2S2 (Sulfotep), 2023
22 x 30, acrylic on paper

Kristian Battell


SF4(Sulfur tetrafluoride), 2023
22 x 30, acrylic on paper

Kristian Battell


Blasted Heath, 2021
33” x 20” x 16”, plastic recycling, plastic tape, newspaper, wheat paste, newsprint, original silkscreen printed on lokta paper, moss

Kirkland Bray


Know When To Hold ‘Em, 2023
14 x 11, oil on found receipt paper

Kirkland Bray


Know When To Fold ‘Em, 2023
14 x 11, oil on found receipt paper

Kirkland Bray


Know When to Walk Away, 2023
14 x 11, oil on found receipt paper

Sandra Cavanagh


Death of Hector II, 2023
72 x 72, oil on canvas

Mary Jean Canziani


You Are What You Eat, 2022
9 x 12, acrylic on repurposed book

Mary Jean Canziani


Civilization and Its Discontents, 2022
12 x 9, acrylic on repurposed book

Nora Chavooshian


River, 2020
108 x 20.5, cotton tapestry and lace and thread, brass bar, brass nails

Nora Chavooshian


River (detail), 2020
108 x 20.5, cotton tapestry and lace and thread, brass bar, brass nails

Gabriella D'Italia


Black Ribbon, 2021
digital video, collage of found and original digital sounds and images, altered and animated

Gabriella D'Italia


Black Finery, 2008
64 x 64, pieced, hand quilted, hand embroidered cotton, cotton batting

Nicholas D'Ornellas


Inside Looking Out, 2022
30 x 36, silkscreen on unraveled poly-cotton fabric, wooden dowels

Nicholas D'Ornellas


A Last Look Kitchen no.1, 2023
12 x 9 x 2, stretched CMYK screenprint on house painted poly-cotton fabric

Nicholas D'Ornellas


A Last Look Kitchen no.2, 2023
12 x 9 x 2, stretched CMYK screenprint on house painted poly-cotton fabric

Nicholas D'Ornellas


A Last Look Kitchen no.3, 2023
12 x 9 x 2, stretched CMYK screenprint on house painted poly-cotton fabric

Nicholas D'Ornellas


A Last Look – Bedroom no.2, 2023
9 x 12 x 2, stretched CMYK screenprint on house painted poly-cotton fabric

Jesse Egner


Knit Face, 2019
16 x 20, archival pigment print

JESSE EGNER


Green Screen, 2022
16 x 20, archival pigment print

Pauline Galiana


Servitude n°1
9.5 x 10, embroidery on vintage doily

Pauline Galiana


Servitude n°2
9.5 x 12.5, embroidery on vintage doily

Pauline Galiana


It’s Fantastic, 2022
93 x 76, hand-embroided plastic bags with embroidery hoops mounted on plastic mesh

ANN GIORDANO


Moonflower no.15, 2009
16 x 13, pigment print on silver metallic paper

ANN GIORDANO


Moonflower no.15, 2009
16 x 13, pigment print on silver metallic paper

Kendall Henderson


Labeled 3 (ABlackpersonsaysmfepgso…) ed.2, 2023
11 x 25, mounted irregular laser print collage

Marshall LaCount


Very Busy Not Much Money Don’t Feel Good Lifestyle Brand, 2023
dimension variable, hand cut helvetica stencil spray on paper

Carolyn Lambert


Clear-Cut, 2017
video

M P Landis


23.02 (not to), 2007-2023
82 x 104 x 2.5, various paints and inks, pencil, china marker, studio dirt on canvas with found wood and glass frame

Osy Milian


Journey, 2023
70 x 92, acrylic on canvas

Deborah Pohl


Composition With Helen Frankenthaler, 2021
14 x 11, oil on panel

Deborah Pohl

 

Brush, Bag and Waiting for Godot, 2021
11 x 14, oil on panel

Deborah Pohl


Paper Bag 18, 2023
14 x 11, oil on linen

Margaret Roleke


Explode, 2022
50 x 38, cyanotype

Regina Ruff


The Story of Us as Me
, 2023
60 x 48, acrylic, yarn, wood, tape, paper, and ink on canvas

Sajal Sarkar


Attaining Moksha, 2023
45 x 36, Sumi ink and brush on Lokta paper mounted on canvas

Sajal Sarkar


The Anarchist, 2016
18 x 18, pen and India ink, wash on Lokta paper mounted on canvas

Fabricio Suárez


Father
, 2022
18 x 14, oil on linen

Hui Tian


Bleak Fall, 2023
72 x 96, oil on canvas

Abhishek Tuiwala


The Brain Wash, 2023
37 x 20 x 15, stainless steel and brass

Abhishek Tuiwala


The Economy Class
, 2021
6 x 3 x 3, brass, bronze and 100 $1 bills

Renelle White Buffalo


Hill
49 x 36, acrylic, collage, charcoal, graphite and oil pastel on canvas