5 Sutton Street 3RR | 5 Sutton Street
Curated by Ashley McNelis
By channeling the methods through which we communicate and mediate our connections to the world, Andrea McGinty asks us to examine our complicated reality. Whether involving language, technology or t-shirt slogans, her work registers on a visceral level. The work is dichotomously skeptical and accepting, forceful but playful. It reminds the viewer that we can do our best to assimilate to our immediate environment but the larger problems of our world are still pressing.
To many, smart phones have become ubiquitous. They are so normalized that in the disarray of an opening, viewers have assumed that McGinty’s recent sculptural iPhone pieces were abandoned phones. These works—which consist of looped videos with text layered over stock photos of images of “spirituality”—antagonize traditional ways of video presentation. The fragmentary texts have been culled from her own phone and social media posts. However, the language in the looped videos has a certain non-specificity that allows the viewers to relate. She understands that word fragments—Tweeted, texted or Facebook messaged—can be trivialized but are a frequent and important means of communication.
Phones are password protected to keep the contents of one’s life private. Yet screens are so common that flashing, noise-making, mesmerizing and audaciously honest videos might cause a certain guilt or discomfort for the viewer. The shame one might feel watching the videos translates to her line drawings in which cats—often associated with spinsterhood or called pussies—are strongly juxtaposed with casual sex-related confessions. The statements are forthright, vulnerable and humorous. This method of expression, like her recent erotic novella, God, I Don’t Even Know Your Name (2015), expands upon the potentialities of any form of language to communicate in a powerful manner.
In her new works, humidifiers are covered with t-shirts that feature positive slogans for teenage girls. These reflect her consciousness of the rise of wellness practices as a response to the socio-political climate. These works support the integration of wellness into different lifestyles but also present them as nominal methods used to fix larger problems.
Andrea McGinty (b. 1985) lives and works in New York City. Recent exhibitions include Gezellig, Achter de Boom, New York (2015), Nonprojections for New Lovers, Guggenheim Museum, New York (2015), Ice Storm, The Willows, Brooklyn, New York (2015), Beverly's at Material Art Fair, Mexico City, Mexico (2015), Tutorial, LaAgencia, Bogotá, Columbia (2015), Bye, Felicia, BHQFU, New York (2014), The Night of the Lost Art, Akranes Museum Center, Akranes, Iceland (2014), and Urban View, Periscope, Salzburg, Austria (2014). She is the author of God, I Don't Even Know Your Name (2015), published by Badlands Unlimited as part of the New Lovers series of short erotic fiction. Her work has been featured in Mousse Magazine (2015), Blouin ArtInfo (2015), W Magazine (2015), The Paris Review (2015), and T Magazine (2015).
Ashley McNelis is a Brooklyn-based curator. She recently graduated with an MA in Art History from the Institute of Fine Arts, New York University and is a frequent contributor to BOMB Magazine, Blonde Art Books and other online art publications.
For further inquiries please contact Ashley at Ashley.McNelis@gmail.com or visit andreamcgintyart.com.