A songbook attentive to corporeal language-making processes often dismissed as impediments. The Clearing is not a metaphora symbol for clarity or realizationbut an activation of ever-present clarity.
A book of delicate autobiographical drawings tells the story of two lovers forced separation. The books 5.5 inch-square format complements the intimate nature of its captioned images, as holding the book in one hand and flipping its pages with the other feels like unfolding a note that has been passed in secret.
This archive, which included propaganda posters, works of art, and other pieces of print culture, revealed a complex and at times incongruous approach to race. As Wayland Rudd, who the archive is named after, would learn, the Soviet Union was not the anti-racist idyll its propagandists portrayed.
As they evoke the love-hate relationship that infrastructure so often inspires, Johnsons double-layered images illuminate the dueling perspectives that surrounded Seattles Alaskan Way Viaduct, in both its life and its death.
Binding Surrealist automatism to workplace sabotage, the book raises issues for deliberation that benefit opportunities to review the premise of the life-as-art/art-as-luxury-lifestyle aspiration as nothing more than a consumerist enterprise equipped with cloaking theoretical elements that have artfully ducked anti-capitalist and anti-art critical postures. This fever-dream history of subversion as sex machine invites you into a contemplation of your intimate erotic life, put in relationship to its oppression.