I Would Prefer Not To
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