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OVER-BELIEFS, Gordon Hall Collected Writing 2011-2018

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OVER-BELIEFS, Gordon Hall Collected Writing 2011-2018 OVER- Collected 2011– BELIEFS Writing 2018 Gordon Hall CONTENTS 2 ACKNOWLEDGMENTS 21 MAKING MESSES FOR THE FUTURE 34 AND PER SE AND: Gordon Hall 2013 Essay commissioned for the A LECTURE IN 23 TUFTS exhibition catalog for Stand Close, It's 2016 Lecture-performance originally 3 AN EXERCISE IN THINGS Shorter Than You Think: a show on feminist commissioned by and presented at Temple by Roya Amirsoleymani rage, curated by RJ Messineo and Katie Contemporary, Philadelphia, PA and COMPANION PIECE Brewer Ball at Artist Curated Projects at re-presented and published as a book by by Kristan Kennedy The One National Gay & Lesbian Archive, Art in General, Brooklyn, New York, in Los Angeles, CA. conjunction with the exhibition Shifters. 4 FOREWORD by Sarah Workneh 23 OBJECT LESSONS: THINKING 38 “READ ME THAT PART A-GAIN, GENDER VARIANCE THROUGH WHERE I DIS-INHERIT EVERYBODY” 6 DIFFERENTIATION MINIMALIST SCULPTURE 2014 Lecture-performance commis- 2012 Performance script performed by 2013 Essay adapted from a lecture sioned by and presented at EMPAC/ Gordon Hall and Savannah Knoop in the presented as part of the panel "Sexing Experimental Media and Performing Arts 2012 Movement Research Festival at West Sculpture" at the 2013 Annual College Art Center, Rensselaer Polytechnic Institute, Park Presbyterian Church, New York, NY. Association Conference, New York, NY. Troy, NY. Adapted and re-presented at Published in Art Journal, Volume 72, Issue The Brooklyn Museum in the exhibition 9 READING THINGS: #4 (Winter 2013.) Crossing Brooklyn. ON SCULPTURE, GENDER, AND RELEARNING HOW TO SEE 26 THE POSSIBLE IN EXCESS 42 A DOORKNOB ON THE LANDSCAPE 2016 Essay commissioned by Walker OF THE REAL 2016 Catalog essay commisioned for Reader for the Artist Op-Ed series and 2013 Performance script for two voices Disassembling Utopias by Kendall Buster published online and in print. Reprinted published in What About Power? Inquiries in conjunction with her exhibitions at with permission of the Walker Art Center. Into Contemporary Sculpture. Published Commune.1, Cape Town and Stellenbosch by SculptureCenter and Black Dog University Stellenbosch, South Africa. 13 IS THIS FOR A PERFORMANCE Publishing. 2013 Conversation with Elizabeth 44 U Orr and Kristin Poor published in Next 27 NO REAL BODIES 2017 Text written in conjunction with U Time, on the occasion of the Next Time 2014 Interview by Maggie Ginestra and presented at The Wysing Arts Centre, Symposium at Envoy Enterprises, New published in Temporary Art Review. Cambridge, U.K., as part of the exhibition York, NY. Mene Mene Tekel Parsin curated by Jesse 27 JUST NOTICEABLE DIFFERENCE Darling. 14 TOUCHING FURNITURE 2015 Performance script for two voices 2018 “500 Words” interview conducted performed by Gordon Hall and Chris 44 SLOW BONDS AND THE by Daniel Quiles. Published in ArtForum, Domenick with Anne Truitt’s Triad (1977) INTIMACY OF OBJECTS May, 2018. at Whitney Museum of American Art as 2018 Conversation with David J. Getsy, part of the series 99 Objects. introduced by Yuri Stone, on April 28th 15 EXTREMELY PRECISE OBJECTS 2018 at the MIT List Visual Arts Center. OF AMBIGUOUS USE 28 COUNTING BACKWARDS Published in the exhibition catalog for The 2011 Lecture presented in conjunction FROM THREE Number of Inches Between Them, edited with the School of the Art Institute of 2015 Essay commissioned for the and designed by Gordon Hall and Brian Chicago Masters of Fine Arts exhibition, exhibition catalog for The Perfect Kiss Hochberger. Sullivan Galleries, Chicago, IL. (QQ)* *questioning, queer—Matt Morris with James Lee Byars, Contemporary Art 49 NEW FORMS OF KINSHIP 18 SO FUTURE Center, Cincinnati, OH. 2018 Conversation with Orlando Tirado 2013 Conversation with Colin Self for Critical Correspondence, published by published in Randy Magazine Issue No.4, 30 AMONG THINGS Movement Research. published by Capricious, NY. 2018 Essay commissioned by Art in America, December, 2018. 52 THE UNSET 20 PARTY FRIENDS 2016 Script for two voices presented as 2015 Essay originally commissioned for 32 NEW SPACE EDUCATION part of The Unset, Gordon Hall’s “Frieze the exhibition catalog for Making Chances: AND HOW IT WORKS Frame” solo booth with Night Club, Ten Years of Chances at Gallery 400 at the 2014 Conversation with Orlando Tirado Chicago, IL, presented at Frieze New York, University of Illinois, Chicago, IL. published in the folio in conjunction Randalls Island, NY. with FLEX, a group exhibition curated by Orlando Tirado at Kent Fine Art, New York, NY. OVER-BELIEFS COLLECTED WRITING 2011–2018 ACKNOWLEDGMENTS significance of these words. I also would like to acknowledge the contribution of Evan Fusco, GORDON HALL The essays, interviews, and performance scripts who advised me to organize the entries along a included in OVER-BELIEFS represent seven thematic thread rather than chronologically or years of creating language in and around my by category, an insight that struck me immedi- sculptures and performances. The entries have ately as deeply right and that has directed the been presented in many disparate locations and entire team’s editorial work from the beginning. formats—in print, online, and some appearing Each text in this book has a sizeable list only on my website. It is extremely meaningful of people who contributed their feedback and to me to have them compiled in one volume, worked to bring each piece into the world, enabling them to circulate in the world as a and I know I will not mention them all here. group. Many of the texts have been responses In order of appearance in the book, I want to to invitations—to write for a catalog, create a extend profound thanks to Movement Research; performance, or be in conversation in relation Savannah Knoop; Edie Fake; Paul Schmelzer to a specific theme or event. Through these and the Walker Art Center; Corin Hewitt; directives, the texts flesh out a shifting but, I Elizabeth Orr and Kristin Poor; the curatorial think, relatively stable way of understanding team of Next Time; Artforum; Daniel Quiles; objects, embodiment, gender, abstraction, ritual, Karsten Wales Lund and the Renaissance spoken language, and art history, among many Society at the University of Chicago; the faculty other topics. I hope that my ideas will be useful and students I worked with at the School to others, especially to other artists mired in the of the Art Institute of Chicago’s Visual and often murky experience of making and contex- Critical Studies Department; Colin Self; the tualizing their work, as I have often been. In one editors of Randy; Aay Preston Mynte, Latham way or another, each of these texts helped me Zearfoss, and the rest of the team at Chances figure out how to move forward artistically and Dances; Lorelei Stewart and Gallery 400 at intellectually, creating a structure in which I can the University of Illinois Chicago; RJ Messineo make, think, and be. I look forward to continuing and Katherine Brewer Ball; the ONE National this work in the decades to come, guided by my Gay and Lesbian Archives; Susan Richmond, reflections on what I have and have not yet done. Jillian Hernandez, College Art Association, and All the texts in this book can be found Art Journal; Ruba Katrib and SculptureCenter; elsewhere in their original contexts and Maggie Ginestra; Megan Heuer and Whitney formatting, often including more images, videos, Museum of American Art; Alexandra Truitt; hyperlinks, and other information that was by Chris Domenick; Matt Morris and Contemporary necessity left out of this book. The performance Art Center Cincinnati; Brian Droitcour and Art scripts, in particular, are incomplete without in America; Ralph Lemon; Lydia Okrent; Orlando their accompanying sculptures, movement, and Tirado; Kent Fine Art; Sean Horton; Robert collaborators, meant to be experienced as live Blackson and Temple Contemporary; Kristin events. Notwithstanding, I did want to include Chappa and Art in General; Emily Zimmerman the scripts because of their importance as forms and Experimental Media and Performing Arts of writing within my practice, and because Center at Rensselaer Polytechnic; Alec Smyth; they represent my excitement about the diverse Nancy Lupo; Kendall Buster; Donna Lynas and possibilities for engaging in research, writing, the Wysing Arts Centre; Jesse Darling; Yuri Stone and speaking to others. and MIT List Visual Arts Center; David J. Getsy; There are more people deserving of gratitude Elizabeth Atterbury and Meghan Brady; Steel for their work on this book than can possibly House Projects; The Kindling Fund administered be named here. Primarily, I am incredibly by SPACE Gallery; Andy Warhol Foundation; grateful to everyone at the Portland Institute Graham Foundation for Advanced Studies in the for Contemporary Art, without whom this text Fine Arts; and Matthew Steinbrecher. Numerous would not have come to be. This book was a others provided images included in this book and dream I thought would not be realized for years are acknowledged throughout. to come, and PICA made it happen now in con- Additionally, I need to thank the countless junction with our exhibition, THROUGH AND friends, artists, and interlocutors, who contrib- THROUGH AND THROUGH. My deepest thanks uted in innumerable ways to the development go to Kristan Kennedy and Roya Amirsoleymani of these texts, and especially to all of those who for initiating it, and to Spencer Byrne-Seres and gave feedback on the drafts and supported me Ellena Basada for their truly tireless work com- in uncountable other ways over the years as I piling and organizing its contents. Their belief in wrestled with each text as it came to be. I am making this book is what made it happen. Many especially indebted to the members of my New thanks as well to Gary Robbins at Container York-based critique group, as well as Joseph Corps for designing this book and to Paul Maziar Lubitz, and my partner Octavius Neveaux who for copyediting.
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