Christina McPhee
Since the beginning
Works in United States of America

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Christina McPhee http://christinamcphee.net
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DISCUSSION

Reception: Pharmakon


Pharmakon Library

EVENT

New in the Pharmakon Library: Parker Tilghman / Pharma


Dates:
Wed Jan 05, 2011 00:00 - Wed Jan 05, 2011

Location:
Antarctica

New contribution to the Pharmakon Library: Parker Tilghman, Pharma 1-7

http://pharmakonlibrary.blogspot.com/2011/01/parker-tilghman-pharma-1-7.html

a graphics project curated by Christina McPhee in association with SIlverman Gallery, San Francisco
http://silverman-gallery.com/
http://christinamcphee.net

Parker has the unusual distinction of showing work in another library-related show opening next week in San Francisco--

The 770 Show : an exhibition about images and organization.

January 13-February 13, 2011
Opening reception THrusday, January 13th, 6-9 pm

Adobe Books Backroom Gallery is pleased to announce its 2011 inaugural exhibition, guest curated by Arden Sherman. The 770 Show is the first in a two-part series dealing with the site of the bookshop itself — as inspiration, illumination, and artistic material.

Eric William Carroll, Sara Hotchkiss, Searn McFarland, Paul Schiek, Parker Tilghman, Sune Woods, Kelli Yon.

For the first installment of the series, The 770 Show, seven artists were invited to spend time in the bookshop stacks, discovering the wealth of ideas that present themselves when organization does not follow tradition. From the huge quantity of subject matter on hand at Adobe, each artist selected a singular image found in a book and responded to this image through photography. Both the book image and the photograph are on display in the Backroom Gallery.

In his short story "The Library of Babel," Argentine author (and librarian) Jorge Luis Borges wrote that if one looks at the repetition of disorder long enough, what was originally perceived as chaos eventually becomes the order of things. 770 is the number for Photography and Photographs within the Dewey Decimal System, the system of classification used in most libraries. At Adobe Books, the organizational system is loose at best, and sections often blend and overlap. The Adobe system, akin to that of The Warburg Institute or the San Francisco-based Prelinger Library, is predicated on the notion that the significance of every book depends on its context within the library and its neighborhood on the shelf—a notable departure from the system of John Dewey.

The artists in The 770 Show take up the complicated idea of order and organization through the simple act of selection and interpretation. Their response through photography further contest traditional ideas of order since the medium of photography is, by definition, temporal and variant. The 770 Show encourages exploration in the bookshop stacks and allows the visitor to make connections among the varied subjects and, like the exhibition artists, encounter unexpected treasures.

http://adobebooksbackroomgallery.blogspot.com/


EVENT

New in the Pharmakon Library - Leigh McCarthy: Doppelganger


Dates:
Sat Jul 16, 2011 11:00 - Sun Jul 31, 2011

Leigh McCarthy : Doppelganger
medium format contact sheets unique edition
"The narrative that propels “doppelganger” derived from a dream that my brother had where we climbed to the top of the Golden Gate Bridge. In his dream, I was picked up by the wind and floated into marshy seagrass below..."
Leigh McCarthy is an artist and filmmaker who lives and works in San Francisco. She received her MFA from Goldsmiths College in London and has exhibited her work internationally including group projects at the Getty Center, Los Angeles; Torrance Art Museum, Torrance; and the Institute of Contemporary Art, London. Special thanks to Jaime Beechum who assisted with photography.


EVENT

New in the Pharmakon Library: BDY DBL drawings


Dates:
Tue Jun 28, 2011 23:25 - Fri Dec 30, 2011

New in the Pharmakon Library:
KATHRYN GARCIA BDY DBL / drawings 2011
Brooklyn-based Kathryn Garcia's studies for THE FLOOD+SEQUENCE DEBASE
selected/photographed by Christina McPhee
Kathy Garcia and Sarvia Jasso are curating a series of events this week in Los Angeles at Human Resources in Chinatown
Artists include: Theo Adams, Skip Arnold, CHOKRA, Coco Dolle, Zackary Drucker, Juan Pablo Echeverri, Fine Art Union, Gordon Flores, Kathryn Garcia, Paul Gellman, Katy Grannan, Wynne Greenwood, David Jones, Dawn Kasper, Brian Kenny, Rosalie Knox, Lynn Hershman Leeson, Benjamin Alexander Huseby and Lars Laumann, Bruce La Bruce, Danielle Levitt, Lovett/Codagnone, Manon, Nadja Verena Marcin, Lucas Michael, Slava Mogutin, Tameka Norris, ORLAN, Maria Petschnig, Breyer P-Orridge, HunterReynolds, Natalie Rodgers, Michael Rudnick, Ira Sachs, Rafael Sanchez, Carolee Schneemann, Scottee, Michael Sharkey, Jack Smith, Matthew Stone,Toshinori Tanaka, Tobaron Waxman, Marnie Weber, Samuel White, Martha
Wilson, Rona Yefman

The curators write, "The title of the exhibition is meant to
expand upon queer notions of sex and challenge the idea of queer vs
normal. For years, the word could not have been used without derogatory
connotations. Even before it was reclaimed by the gay community as a
sign of defiance, it was also used to define anything that was
considered deviant, outsider and/or abnormal. According to Judith
Butler, queer is “a site of collective contestation, the point of
departure for a set of historical reflections and futural imaginings”.
In Queering Sex, with its inter-generational approach, we are positing
that queer exists on multiple planes of non-linearity and is beyond
hetero and homo-normative distinctions. Queer is an idea that is
constantly evolving, changing, and adapting to its current climate.
As a whole, Queering Sex proposes the question, what does it mean to be “queer” nowadays?"


EVENT

New in the Pharmakon Library: Kristen Alvanson's Spells


Dates:
Wed Mar 30, 2011 14:42 - Sun May 01, 2011

Location:
San Francisco, California
United States of America





Poison-in/Poison-out are
Poison/Cure spells which push the idea of ambivalent middle-eastern
spells further as the artist uses western and middle-eastern, personal
and social, inventive artistic elements and vaguely familiar components
in her spells. Like all adventurous alchemists who are preoccupied with
inconclusive and indefinite chemical reactions and elements, Alvanson
takes up the calligraphic pen without any compunction with regard to
‘authenticity’. Since middle-eastern spells are already syncretic,
mongrelized entities, she allows herself a free hand in their
contemporary re-creation by mixing Farsi, Arabic, English and other
symbols to ‘see what happens’.