Center / Marginal Notes: John Boskovich is the
third in a yearlong series of shows curated by John Neff for
Western Exhibitions' Gallery Two. Each show in the program will
present one piece each by two artists or a small selection of
works by a single maker. All of the works exhibited will deal
-- directly or indirectly -- with the relationships of centers
to margins (culturally, geographically, politically and within
works themselves as a formal concern). The third show in the
series, opening May 24th, presents works by the late Los Angeles-based
artist John Boskovich.
Center / Marginal Notes: John Boskovich focuses on works
from the artist's 1993 Rosamund Felsen Gallery solo exhibition
Rude Awakening. It also includes three related Polaroid
and text pieces from the 1990s "It Series." Western
Exhibitions' display centers on extant components of Boskovich's
project-cum-installation The Honey Machine: It Works Without
Thinking, which was first shown in Rude Awakening.
In a 1994 Artforum review, critic David Rimanelli described
smolder in "The Honey Machine: It Works Without Thinking",
an installation in which Boskovich has assembled 250 Honey Bears
and miniature Buddhas and encased them in three Plexi vitrines.
In the role of artist-as-researcher (cf. Hans Haacke), Boskovich
counted for six months the number of ads placed by "models"
(read: hustlers) in Frontiers, a California gay magazine.
The number was always close to, and sometimes exactly, 250.
The comforting little surrogates for the 250 advertised pleasure-workers
all face a framed text of an ad Boskovich took out in Frontiers
bearing this inviting text: "SHAVED HEAD MUSCLE DADDY 36
yo, 5'10" 190 lbs. Big Dick TOTAL TOP Looking for smooth
muscle pussy boys--verbal abuse a must PAGER: (310) 582-6112."
The pager was hooked up to a sound system installed in the gallery,
and the voices of respondents would often interrupt a prerecorded
tape featuring, among other things, Patti Smith performing "Piss
Factory," Allen Ginsberg reading his depressing poem, "Aunt
Rose," and T. S. Eliot intoning passages from "Four
the fifteen years since Rude Awakening, several of
the elements described by Rimanelli have been lost. Rather than
attempting to recreate The Honey Machine as it was
initially presented, Neff has chosen to include only surviving
original elements of the installation in Dead Center / Marginal
Notes. Those elements include the framed text piece Daddy
and Frontiers, a framed magazine containing Boskovich‚s
actual advertisement. The perishable Honey Bears and fragile
Buddha figurines have disappeared: if a tape of the respondents
to Boskovich's advertisement exists, its location is unknown.
live audio cables protruding from the wall and terminating,
unconnected to any machine, on the gallery floor mark the absence
of the installation's audio track, and of Boskovich's carefully
selected playback devices. The visual contrast between Western
Exhibitions' austere gallery display and 1993 documentary photographs
of The Honey Machine also indicates the fragmentation
of Boskovich's installation over time. The curator hopes that
these specific differences in presentation suggest the difficulties
of preserving and exhibiting conceptual artworks outside of
collecting institutions, while simultaneously pointing to the
ways in which Boskovich's art generally could be said to allegorize
the gaps and ruptures -- baffling or productive -- that inhere
in relationships between humans and images, or relationships
between humans through images.
on Dead Center/ Marginal Notes here