BOY BOX
July 30 - August 28, 2021
Curated by Angela Conant
Jared Buckhiester
CAConrad
Deborah Czeresko
Karen Yvonne Hall
BB Kenda
Rose Nestler
Sarada Rauch
Marion Scemama and David Wojnarowicz
Vincent Tiley
Christopher Udemezue
Angela Washko
For the purposes of this exhibition, masculinity is defined as a constructed and perceived set of traits as evaluated by a cis-dominated, colonized Western culture, in which masculinity is imposed from external perspectives, and translated into individual performances across the gender spectrum. BOY BOX optimistically proposes broader access to the joys and benefits of fluid, detachable masculine traits. The exhibition is not an astigmatic celebration of maleness, but rather a deconstruction of masculinity’s history of power, and a rejection of its stigma, one that has fueled racism and the marginalization of people who do not conform to binary constructions of gender. Addressing the hypocrisy of a masculine archetype that, in Western culture, is reserved for white cis-male people, this exhibition aims to complicate and bend masculinity across intersections of identity. To those ends, BOY BOX brings the fragility and preciousness of masculinity down to earth, catching it as it falls from its cultural pedestal. On view are artworks that address masculinity’s myriad iterations, frustrating ideas of gender, the male sex, and toxicity.
The United States’ surge of mass killings in recent years evinces the damage wrought by the Western tradition of violence as a masculine craft. Where research into the causes of mass violence is inadequate, an observable commonality is that most perpetrators are male-identifying. Meanwhile, modern sensibilities replace and flip archaic gender roles. Heterosexual romance, for example, is the old-fashioned process of quieting hyper-masculine impulse in order to sweeten and garner interest from a prospective sexual partner. This cloak to accessorize the performance of masculinity is a forefather of what we now call consent.
Working to move outside its conventional constraints, this exhibition offers a group of artists’ observations and performances of masculinity. Their work shows that we each have not only a unique relationship with the masculine, but a right to its power, swagger and strength.
EVENTS
![Jared Buckhiester, Potential Subject at 68MPH 1-85 SC State Line, 2021, archival inkjet print, image courtesy of the artist. [Image description: the driver’s side window of a yellow truck viewed from below, looking up. The bottom half of a man’s face, his chin, beard, lips, top row of teeth, are visible on the right side of the image, looking out from inside the cab of the truck. A reflection of the sky and green trees can be seen on the left quadrant of the image.]](https://images.squarespace-cdn.com/content/v1/537c9eb6e4b0ca838c2f4f52/1627015308497-JWDP7JJX87L19G4D5D4C/Potential_Subject.jpg)
Jared Buckhiester, Potential Subject at 68MPH 1-85 SC State Line, 2021, archival inkjet print, image courtesy of the artist.
[Image description: the driver’s side window of a yellow truck viewed from below, looking up. The bottom half of a man’s face, his chin, beard, lips, top row of teeth, are visible on the right side of the image, looking out from inside the cab of the truck. A reflection of the sky and green trees can be seen on the left quadrant of the image.]
Drag castrato performance (excerpt) by Karen Hall at the opening for BOY BOX (360° VIdeo)
Visual Description: A view of the Project Space gallery, an open part of the space with light pouring in from unseen windows and light fixtures on the ceiling. A former manufacturing space, the gallery shows residual traces of its industrial past—grey-painted concrete floors, white concrete beams running along the ceiling, industrial radiators and conduits. Suspended from the ceiling, we see a blown glass sculpture by Deborah Czeresko colored in white and silver. In the back right corner are two photographs and two sculptures by Jared Buckhiester. On the left wall, we see a poem by CAConrad printed on chiffon fabric, hanging from the ceiling.
Jared Buckhiester, Potential Subject at 68MPH 1-85 SC State Line, 2021. Archival C-Print, 30” x 40” / Urinal (End), 2016, Glazed Stoneware, 16.5” x 11” x 10”
Visual Description: On the print, we see the driver’s side window of a yellow truck viewed from below, looking up. The bottom half of a man’s face, his chin, beard, lips, the top row of teeth are visible on the right side of the image, looking out from inside the cab of the truck. A reflection of the sky and green trees can be seen on the left quadrant of the image. To the left of the portrait is a glazed stoneware sculpture as it stands on a black rectangular stand. The sculpture is a urinal with a tubular opening that leads into the face and body of a football player. His body morphs into the bottom of a gray pot.
Jared Buckhiester, Subject at 72 MPH I-85 GA State Line, 2014. Archival Inkjet Print, 30” x 40” / Urinal (Full Back), 2020, Glazed Stoneware, 16.5” x 11” x 10”
Visual Description: On the print, we see the driver’s side window of a blue truck viewed from below, looking up. The man’s face is visible on the bottom right side of the image, looking out from inside the cab of the truck, leaning his arm on the edge of the window, and smoking a cigarette. A reflection of the sky and green trees can be seen on the left quadrant of the image. In front of the portrait is a glazed stoneware sculpture as it stands on a black rectangular stand. The sculpture is a urinal with a tubular opening that leads into the face and body of a football player. His body morphs into the bottom of a dark brown pot.
Visual Description: A view of the gallery. To the left, we see a standing sculpture by Rose Nestler. The sculpture is a green leather bag with white tools made of leather in its pockets. The bag stands on a wooden stool, divided in the center to create two opposing tilted surfaces. On the frontal wall is a painting by Karen Hall. Portraying a landscape, this acrylic, oil, and paper collage painting on canvas served as the backdrop for Karen Yvonne Hall’s performance piece, performed on the night of the opening. On the right wall is a video piece by Karen Yvonne Hall, screened on a TV monitor.
Christopher Udemezue, I Need to Know That You Will Be Here Where He Can’t Find Us When I Knock My Key, 2021. Mixed Media Installation with Sound. Dimensions Variable.
Visual Description: An installation piece is set up in a room painted in black. Mixed materials such as wood branches, soil, flowers, leaves, and rope are laid on clear plastic sheets, lit with a blue light. At the center of the installation are family photos printed and pasted on paper. A soundscape is played next to the installation.
Visual Description: A view of the gallery. Hanging on the left wall is a sculpture by Rose Nestler. The sculpture features an unlocked orange chastity belt hung on metal hooks. A leather whip is attached to the bottom, suspended above the floor. On the right is a poem by CAConrad printed on chiffon fabric, hanging from the ceiling.
Marion Schemama and David Wojnarowicz, Last Night I Took A Man, 1989. 8mm video, transferred in Beta and digitalized Color with sound. 4’33”. Courtesy of the Estate of David Wojnarowicz and PPOW.
Marion Schemama and David Wojnarowicz, What Is This Little Guy’s Job, 1989. 8mm video, transferred in Beta and digitalized Color with sound. 2’05”. Courtesy of the Estate of David Wojnarowicz and PPOW.
Visual Description: Two cube TVs standing back-to-back on two white plaster pedestals. On the left is a screened image of a man wearing glasses next to three images. On the right is a screened image of a bug walking on a man’s hand.
Visual Description: View of the gallery. On the left is a video piece by Angela Washko mounted on the wall in the gallery entrance. To the right of that is a video piece by bb kenda. Vincent Tiley’s sculptures are on the right. Suspended from the ceiling, we see a blown glass sculpture by Deborah Czeresko colored in white and silver. Light is pouring from the aluminum window on the right side of the image, looking out to West 39th Street.
Vincent Tiley, Hunger Jacket, 2021. Leather Biker Jacket, Resin Teeth, Animal Horn, Grommet. 38” x 21” x 20”.
Vincent Tiley, Urchin, 2020. Leather Biker Jacket, Steel Nails. 13” x 54” 24”.
Visual Description: On the wall is a sculpture of a black leather biker jacket hanging on an animal horn, lined with resin teeth. On the floor is a sculpture of a black biker jacket laid on steel nails.