Ry David Bradley “Where do you want to go today?” and Graham Wilson “I clocked out when I punched in” at Brand New Gallery, Milan / MOUSSE CONTEMPORARY ART MAGAZINE

Ry David Bradley “Where do you want to go today?” and Graham Wilson “I clocked out when I punched in” at Brand New Gallery, Milan

by mousse

October 21~2015

Ry David Bradley “Where do you want to go today?”

Brand New Gallery is pleased to present “Where Do You Want To Go Today?”, an exhibition of new digital paintings and sculptural modifications by Ry David Bradley. This is the artist’s first solo exhibition at the gallery. Bradley will be exhibiting a suite of landscape paintings sourced from the New York library of rare pictures, based upon locations given by anonymous callers to Microsoft in 1996 during its “Where Do You Want To Go Today?” campaign. Accompanying these will be new sculptural modifications in the form of Italian iron gates from the early 20th Century. The work for the show continues his interest in techniques to create a 21st century painting, by heating dyes on the surface of synthetic suede alongside spray painted application.

Microsoft to Drop Its “Where Do you Want to Go Today?” Campaign

GATESVILLE, WA /DenounceNewswire/ — December 13, 1996 — Microsoft Corporation announced today that it was dropping its “Where Do You Want To Go Today?” ad campaign, calling it “wildly successful,” but perhaps a little “too successful.”

Months ago, Microsoft’s Corporate offices began receiving over 770,000 letters, postcards, faxes, and email that contained brief messages, sometimes only one word in length. Puzzled, a Microsoft office manager turned the documents over to a private investigator to find out what was going on. “The messages were basically place names, like ‘Chicago’, ‘the corner of Fourth and Elm,’ ‘Egypt’, ‘Tahiti’, ‘Anywhere but Redmond,’ ‘Ulaan Baator’, and so on,” said the puzzled office manager.

The discovery came recently as the mystery spilled over to Microsoft’s 800-number phone lines, with people calling in at any hour of the day or night with a brief statement and then hanging up. Operators, with the assistance of local law enforcement, managed to trace some of the calls and reach the mystery callers.

“I was just answering their own question,” said one caller, who asked to be identified, begged to be identified, even offered to pay to be identified. “Microsoft asked me where I wanted to go today, so I told them.” Apparently, so did hundreds of thousands of others as well. “We meant it as a rhetorical device,” said Bill Gates, Chairman of Microsoft. “But, evidently people took us literally. That’s nothing new, really.”


at Brand New Gallery, Milan

until 7 November 2015

Ry David Bradley, “Where do you want to go today?” installation views at Brand New Gallery, Milan, 2015

Courtesy: the artist and Brand New Gallery, Milan.


Graham Wilson “I Clocked Out When I Punched In”

Graham Wilson’s I Clocked Out When I Punched In brings together an array of works that relate to the life of the studio and the valuation of artistic labor.

In the front gallery, Wilson sets up different systems of measurement and demarcation that form the basis of his practice. Natural Motion an installation of five, five-panel works is composed of thin vertically hanging and identically sized and spaced strips of canvas. Each set of five paintings stands for one of the natural elements (earth, water, wind, fire, and aether). Each of the five elements is itself comprised of an assortment of “Alpha” and “Omega” paintings, which are always exhibited together. While the “Alpha” paintings gather paint splatters, the “Omega” paintings amass paint chips from previously paint-stripped canvases. These works address the question of intentionality, accidental production, possibility, and control, and extend Wilson’s interest in the potentiality of repurposed and rehabilitated materials. Wilson moves from these direct impressions of his practice, to more general representations of process, marking, and presence. sic sic (th’u’s th’us’), a Paschal candle typically burned during Easter, is lit at the beginning of the exhibition and progressively burns down until it has totally disintegrated. This representation of the “brightest light” is paired with another floor piece, One Reason Why Five Is Important, a small dirt mound fostering a blooming sprout over the course of the show. The flower and the candle, each respectively rising and falling, take the floor as a demarcating line, and echo Where ‘I’ Draw the Line a thick band drawn at eye level along the length of a wall.

The final piece in the front room is a time-clock used to mark time spent in the studio over the past year and half, along with the corresponding time cards piled up below. Now broken, the useless machine titled Institutionalized anchors Wilson’s practice within a rejected framework of systematic accountability, which turns artistic presence into monitored (and monetized) activity.

The gallery’s back room features a set of works that take up the critique inaugurated by Wilson’s time clock. The artist’s Self Portrait at 27 is in fact a clown nose, a tongue-and-cheek reference to the absurdity of trying to position oneself within an art world that turns artistic labor into entertainment value.

The two-part installation Something About Two Birds and One Stone features a crumpled tee-shirt displaying the face of curator Jeffrey Deitch and the words “Team Jerry” (“Ain’t No ‘I’ in ‘Team’”) as well as a check from Gagosian Gallery, framed, and surrounded by large scissors wall decals (Any Way ‘You’ Cut It). Wilson pokes fun at narcissistic celebrity and major powerhouse taste-making, without sparing himself (the clown) in the process.

The final works in the room, Ups and Downs, are two quilted, arrow-shaped paintings pointing up in a blue color scheme, and down in a red color scheme. Creating an area of architectural containment through their position in the corner of the space, they refer back to the dichotomies between above and below set up in the previous room, articulating this duality of artistic presence along the axis of embodiment and commodification.

Exhibited on the artist’s website is the performance video Reaping Everything ‘I’ Sew, a 17-minute short of Wilson, dressed in overalls and oversized Timberlands, digging a grave in his native Kentucky. Gold chips shine through the dirt. Standing over the grave, the artist refuses to make his bed and lay in it, instead abandoning his tools and stepping away. Wilson reminds us that compromising towards value is a form of death. But one walks on a tightrope to keep presence balanced.

Rachel Valinsky


at Brand New Gallery, Milan

until 7 November 2015

Graham Wilson “I clocked out when I punched in” installation views at Brand New Gallery, Milan

Courtesy: the artist and Brand New Gallery, Milan.