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Published to coincide with Flood, Charles Harlan’s first institutional solo exhibition in the US, this small-run publication features the essay “Strange Utility” by curator David Everitt Howe, as well as installation shots of the exhibition. Together, they help contextualize the artist’s practice, which gives everyday, industrial objects newfound aesthetic value. In the process, bricks, chain link fencing, and asphalt roofing tiles, among other materials, undermine—in the vein of the Readymade—given conventions of what constitutes a work of art and its institutionalization.

Charles Harlan received his BS from New York University in 2006. Forthcoming solo exhibitions include Atlanta Contemporary, Atlanta; Carl Kostyál, London; and Rodolphe Janssen, Brussels. Recent solo exhibitions include Hamlet’s Mill, Ribordy Contemporary, Geneva, Switzerland (2015); Ishtar, Venus Over Manhattan, New York, NY (2014); The Gate, Karma, New York, NY (2013); and Cave, JTT, New York, NY (2013). Select group exhibitions include Object Painting – Painting Object, Jonathan Viner, London (2015); Over & Under, Sikkema Jenkins & Co, New York, NY (2015); Judo, organized by Zak Kitnick, Clifton Benevento, New York, NY (2015); The Unwinding, Cookie Butcher, Antwerp, Belgium (2014); To do as one would, David Zwirner, New York, NY (2014); do it (outside), curated by Hans Ulrich Obrist, Socrates Sculpture Park, Long Island City, NY (2013); and The Medicine Bag, Maccarone, New York, NY (2011). His work has been featured in The New Yorker, The New York Times, ArtReview, Kaleidoscope, and Mousse with an interview by Carol Bove forthcoming in Flash Art.

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