Fountain, 2014 - ongoing
Commodities futures indexes data and video with sound, dimensions variable.
Area Variance, 2014
248-250 Columbia Street, Hudson, New York, auto-body paint, 30 x 40” chromogenic print, gilded frame, attenuated spotlight.
Getting to Yes, 2015
Acrylic and ink on paper, 22 x 30".
Form is fiction incorporated., 2013 - 2016
Delaware S-corporation, ATM card, abbreviated text, 3.370 x 2.125".
Installation views Courtesy of MoMA PS1, 2015
If you stare directly at a waterfall or through the window of a speeding train for a minute then look away, you may temporarily perceive the ghostly doubles of static objects floating upward in the case of a waterfall or from one side to the other in the case of a train window. A motion aftereffect, sometimes called a “waterfall effect,” is this subtle illusion of motion in one direction caused by prior exposure to motion in the opposite direction. The movement of the falls on view here is determined minute-by-minute according to the ups and downs anticipated by futures markets approximately six months ago, when traders placed bets on today’s prices for basic commodities like oil, wheat, rice, and gold. This work is priced equivalent to the Dow Jones Industrial Average at a scale of 1 point:1 dollar.
For a public art commission initiated by a non-profit arts institution in 2014, I arranged for two dilapidated buildings in Hudson, New York, where I lived at the time, to be sprayed with metallic auto-body paint, transforming them into a monochromatic sculpture, which was subsequently registered by a large-format camera, printed as a photograph, and framed for exhibition in financial centers overseas. This work is priced equivalent to the most recent sale value of the real estate pictured.
Getting to Yes
This print is one in a series derived from a brand mark I designed for a communications company that develops encryption technology for mobile messaging apps. The title is taken from a popular book on business management subtitled Negotiating Agreement Without Giving In. This work was exchanged in gratitude for labor donated to produce Area Variance.
Form is fiction incorporated.
(Riddles are a miser's discourse.) This work is priced equivalent to the amount of money channeled through the FORM IS FICTION INC bank account in 2013 before it closed automatically due to disuse, the entire sum a gift of debt I owe.
A text, Equivocus, comprised of compiled and re-written excerpts from several previously published essays forming a single, running column was published as part of the Greater New York series.
Equivocus. New York: MoMA PS1, 2016.
A public roundtable, What is Authority? took place on March 6, 2016, the closing day of the exhibition, bringing together practitioners from disparate fields: consumer marketing; political science; literature & philosophy; and the visual arts—all of whose work entails the communication of nuanced ideas on a public, globe-spanning media stage—to consider the aesthetic dimensions of authority. Participants were asked to discuss to what extent perceived disposition equals position in their respective work? What might this degree of equivalence indicate about contemporary prospects for political engagement? What might it indicate about the political dimensions of mass communications? and of art?
Area Variance, 2014
Framed duraflex photographic print (130cm x 105cm), two houses, gold auto-body paint
Angie Keefer’s Area Variance entails a pair of dilapidated facades in Hudson, New York. For a public art commission in 2014, the artist arranged for the facades to be sprayed with metallic auto-body paint—transforming them into a single, shimmering, golden, monochromatic sculpture, which was subsequently registered as a photograph, printed on metallic paper, and elaborately framed for exhibition in major financial centers throughout Europe. The commercial value of the framed photograph fluctuates with the real estate value of the properties it depicts.
Getting to Yes, 2015
Live performance, 11” x 15” silkscreen prints in pairs, gold metallic ink on paper, dimensions variable
Installation view: Courtesy of Kunstverein Toronto, 2015, Photographer: Kara Hamilton
Detail view: Courtesy of Kunstverein Amsterdam, 2015, Photographer: Tabea Feuerstein
"The literalization of metaphors is an artistic approach that I usually respond to. It often makes explicit some implicit order. This seems to describe... how I went about producing Getting to Yes, a commission for an art fair in Mexico City. I hired a writer to script talking points and a performance artist to act as a salesperson at the fair, both with the clear directive to sell the supposed work, a series of graphic monoprints derived from a brand icon I had been hired to design by a fledgling encryption company. [I hired an] artist named Leila Peacock [to write the script]. I asked her and the performer and artist Steve Kado, to read a popular business management book called Getting to Yes: Negotiating Agreement Without Giving In. It's a legitimately interesting read about negotiation strategy. I had never sold work or even made much that could be sold, and I had no gallery representation, yet I was invited by Kunstverein Toronto to exhibit work of mine that didn't exist. So I decided to invert our apparent positions and focus my energies on equipping this nonprofit to profit. KvT refused to show me the proposal they wrote. They actually said I wouldn't have agreed to be involved if I had read it, but I know the work they referenced was Area Variance... At the art fair, the salesperson-performer succeeded in selling prints for the price of an ounce of gold. He got to "yes" in the sense that he persuaded collectors to confer the monetary value, creating a specific symbolic and economic equivalence, which was the object of the negotiation..."
- excerpted from interview between Angie Keefer & Liz Laser, BOMB, Winter 2016-17
"The non-profit art space in drag as a commerical gallery with a performance artist in drag as a gallerist selling works on paper by an artist who doesn't make works on paper based on an encryption company that might either be fictional or have encrypted itself out of existence was a mouthful to navigate in conversation, I'm glad we managed to make it work, at least in part."
- Steve Kado
"golden punctuation marks... ingeniously priced to fluctuate daily with that [sic] of gold..."
- Artforum scene & herd