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exhibition will include the following:
Framed bookpages: The ‘title’ pages of various
books detached from their original context and framed. Sample
texts: ‘LOOK NOW, PAY LATER’, ‘SOMETIMES I THINK’,
‘SOLD’, ‘POINT OF VIEW’, ‘JUST LOOKING’,
‘THIS IS NOT A PIPE’, ‘PICTURE THIS’, ‘THIS
IS MODERN ART’ and ‘SELF-PORTRAIT OF AN ARTIST’.
‘Three Parts’: Three framed bookpages, the
first of which reads ‘PART I’, the second ‘PART
II’, the third ‘PART III’ - hence ‘Three
Parts’.
‘Parallel Lines’: The ‘title’ pages
from two copies of Edmund J. Sullivan’s 1922 book ‘LINE’,
separately framed and hung in parallel - hence ‘Parallel
Lines’.
‘From the Center’: The title page of Lucy R.
Lippard’s ‘From the Center’, framed, and hung
centrally on any given wall.
Photographs of books: Color R-Type photographs of three
books entitled ‘I WISH I COULD PAINT’, ‘JOHN
CURRIN’ and ‘ART FOR CASH’.
A video of a book: A durational monitor-based video that
consists of a static image of a book entitled ‘VIDEO ART’.
‘Uecker’: A copy of Günther Uecker’s
1986 Abrams’ monograph nailed to the wall.
Fiction/Non Fiction: Three paintings realized from the
same description of a fictitious abstract painting as described
in Ross Macdonald’s 1961 detective novel The Wycherly Woman.
The description reads: "Composed of blobs and splashes
of raw color, it was one of those paintings which are either
very advanced or very backward". The paintings have been
realized by Paul Bloodgood, Verne Dawson and Francis Alÿs.
A screenprint of a bookpage: A screenprint of a single
page taken from Charles Willeford’s 1967 pulp classic ‘Pick-Up’,
its text totally obliterated with the exception of a single
sentence which reads: "Without art as an emotional outlet
I turned to drink as a substitute and I’ve been drinking
ever since".
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Matthew Higgs is an artist and curator based in London. This
is his first individual exhibition with Murray Guy. He has exhibited
sporadically since the early 1990’s with individual shows
at the Anthony Wilkinson Gallery, London (1999, 1997 - a work
made in collaboration with Chris Ofili, 1996 - a work made in
collaboration with Peter Doig), and in group shows at Stalke,
Copenhagen (1999), Murray Guy, New York (1999, 1998), CCA, Glasgow
(1998), South London Art Gallery (1998), Gavin Brown’s
enterprise, New York (1995), City Racing, London (1995), Frith
Street Gallery, London (1995), Anthony Reynolds Gallery, London
(1995) Cabinet Gallery, London (1994), 303 Gallery, New York
(1993) and Laure Genillard Gallery, London (1992). He is the
publisher of ‘Imprint 93’ - an ongoing series of artists
editions - and is currently Associate Director of Exhibitions
at the ICA, London.
Matthew Higgs would like to personally thank Margaret Murray,
Janice Guy, Anthony Wilkinson, Francis Alÿs, Paul Bloodgood,
Verne Dawson, Carolyn Alexander, Ted Bonin, Gavin Brown’s
enterprise, AC Project Room, Hugo Glendinning and the Printmaking
Department of the Royal College of Art, London for their co-operation
on this project.
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