studio




-Something Bad Awfully Good

In a contemporary sphere fraught with the rise of totalizing ideologies, the exposure of abuses by powerful men, the production of self online, and a proliferation of image content, representations, and video endlessly extending, the works in Something Bad Awfully Good harness the power of art historical techniques of resistance to develop a funhouse pastiche of whimsical accelerants flying in the face of what may be our present aesthetic quandary: total aesthetic saturation. An amalgamation of pop simulacra, from re-creations of plastic shopping bags, whoopee cushions, and home improvement buckets to culture jamming remixes of John Wayne’s likeness, Something Bad Awfully Good makes play through intervention with overt messaging and emphatic, loud statements of defiance.

Drawing from a procession of art historical cues, from pop to hijacking to performance, interactivity, and even social practice, the world of Something Bad Awfully Good is mindful of precedent, remaining fundamentally unresolved in aesthetic rupture, a world of social media flash mobs, guerilla interventions of uncertain intention, and jarring juxtapositions of popular images, signs, and concepts. Throughout the show, walls, like the border walls presently fixed in our political discourse, proliferate as distorted imitations of foam and corrugated aluminum, standing alone without purpose, representations of walls in themselves and, yet, further, walls of the ego of the grand, ideologue personalities that exist in our cultural sphere. These gestures re-cast all the angst, frustration, and confusion of our present moment in the light of fun, play, and détournment, where this concentration and accretion of signs, affects, popular renderings, consumption, and discourses becomes a parade through funhouse mirrors, distorting and leveling our conceptions of the order of things.




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