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Zackary Drucker, Welcome, 2012

Zackary Drucker
Commercially fabricated doormat
18 by 24 inches

‡ Preview Exhibition ‡

No Name, installation view at On Stellar Rays, 2013

Installation view (Nico Colón, Michael Mahalchick, Susan Collis, Nathaniel Robins)

No Name, installation view at On Stellar Rays, 2013

Installation view (Sterling Allen, Jonathan VanDyke, Vanessa Billy)

No Name, installation view at On Stellar Rays, 2013

Installation view (Michael Mahalchick, Susan Collis, Shamus Clisset, Nathaniel Robinson, Bayard, Sterling Allen)

Jennifer Sirey, Mother, Installation view at On Stellar Rays, 2013

Installation view (Jennifer Sirey,Mother, 2013)
Glass, bacteria, vinegar, water, monofilament, waferboard
Dimensions variable

‡ Vanish Artworks ‡

No Name

June 20 – July 25, 2013

Curated by Aaron Krach and Courtney Childress

Jennifer Sirey
Jonathan VanDyke
Michael Mahalchick
Nathaniel Robinson
Nico Colón
Shamus Clisset
Sterling Allen
Susan Collis
Vanessa Billy
Zackary Drucker

Dan Peyton for Art-Vetting
Olivia Swider for Whitewall Magazine
Paddy Johnson, Whitney Kimball and Corinna Kirsch for Art F City

Jonathan VanDyke’s Self Portrait as My Mother, as an Actress, as a Painter, as a Stranger will be performed on the following dates:

Thursday, June 20, 5:30 – 8pm*
Saturday, June 22, 1 – 3pm*
Friday, June 28, 2 – 4pm*
Thursday, July 25, 3 – 6:30pm**

 *performed by Laryssa Husiak
**performed by Jonathan VanDyke

The system is broken. The game is rigged. The only way forward is to stop. Forget protesting, arguing, or fighting back. These are distractions from the possibility of redefining freedom. Stop trying. Stop playing. Don’t pick up your ball and go home—leave it for others to squabble over and run!

Judith/Jack Halberstam 1 argues passionately for clear-eyed refusal as a personal, political, and creative action. So do the artists in No Name.

“Resistance takes the form of counterintuitive modes of knowing such as failure and stupidity,” writes Halbertstam in The Queer Art of Failure. “We might read failure, for example, as a refusal of mastery, a critique of the intuitive connections within capitalism between success and profit, and as a counterhegemonic discourse of losing. Stupidity could refer not simply to a lack of knowledge but to the limits of certain forms of knowing and certain ways of inhabiting structures of knowing.”

The artists in No Name refuse to be pinned down or labeled, and their work cannot be described coherently. Instead of paintings or sculpture they create gestures, memories, and detritus. The results refuse quotation marks, but demands air quotes—flimsy hatch marks made of helium or neon that may fly away, sizzle out or explode.

1 Judith Halberstam, The Queer Art of Failure (Durham and London: Duke University Press, 2011), 11-12