December 4, 2008 – August 1, 2009
The title and contents of Western Bridge’s winter 2010 exhibition changed at irregular intervals, taking shape within the body of the previous exhibition Light, Seeking Light.
The developing exhibition built playful relationships to context and connections between works. In place of a single theme, a series of associative links overlapped, as the show moved in several directions at once. Work seen in previous exhibitions reappeared in new contexts. Pieces in deep storage were exhumed. And new work entering the collection stopped in for short visits.
Each time we re-hung various galleries, we gave the show a new title, always derived from a work on view: Yes or No and/or Yes and No (after a print by Tauba Auerbach) introduced Middlebury, an 80-foot-long drawing by Dawn Clements, depicting the entire interior of an apartment. We enjoyed its link to the one-to-one scale and verisimilitude of Mary Temple’s work. After that, we added more and more works around the constant presence of Temple’s Raise, replacing the Susan Philipsz sound installation with photographs and books by five artists for Untitled (A Brink of Infinity), and reaching 21 works by as many artists in According to Speculative Logic, titled after a set of prints by Matt Sheridan Smith.
As a conclusion to our spring project [title variable], Underwater resolved the multiple directions and themes of the previous fast-changing gallery hangs with a densely hung exhibition of 51 pieces on a single subject. The large gallery, which had hosted Mary Temple’s Raise consistently through all the changes elsewhere, now had a salon-style hang of photographs and paintings. Elsewhere, works in photography, painting, drawing, sculpture, video, installation, and water crowded the galleries of Western Bridge through the summer, bringing to light a focus within the collection.