Garfield’s Four Seasons, celebrates the beauty of trash. Without moral or environmental commentary, Garfield rejoices in the aesthetic and archeological potential of our detritus with an installation of photographs and garbage. Three photographs loosely depict Summer, Fall, and Winter in c... Read more
Garfield√¢‚Ǩ‚Ñ¢s Four Seasons, celebrates the beauty of trash. Without moral or environmental commentary, Garfield rejoices in the aesthetic and archeological potential of our detritus with an installation of photographs and garbage. Three photographs loosely depict Summer, Fall, and Winter in color-coded refuse. Spring is an exuberant, mutating mountain of colorful trash filling one end of the gallery, to be photographed at the end of the exhibition to become the final image of the suite. In the current issue of The Brooklyn Rail writer Christian Parenti discusses Four Seasons and Garfield√¢‚Ǩ‚Ñ¢s multi-channel video installation Deep Space 1: √¢‚Ǩ≈ìTogether these pieces invoke the logic of the present in all its despotism and pathology. As the pieces comment on cultural production√¢‚Ǩ‚Äùespecially cinema and advertising√¢‚Ǩ‚Äùyou could say they are classic d√ɬ©tournement, a cultural √¢‚ǨÀúturning√¢‚Ǩ‚Ñ¢ or reuse of the spectacle in order to call into question class power and other hierarchies. As such, they do important work, focusing on that which we already know but are numbed and worn down by… Garfield√¢‚Ǩ‚Ñ¢s humor, which mocks and laments our predicament, feels somehow like a subversive victory.√¢‚Ǩ¬ù
