THREE WORKS

ELLIOT REED


THREE WORKS

ELLIOT REED

open to the public
one viewer at a time

March 25 — May 10 2021


Saturdays and Sundays between 12
and 6 pm or by appointment

Like every living thing, Elliot Reed struggles between present and past.

But instead of kneading and glossing this conflict into seeming clarity, Reed makes a virtue of vagueness. His work seeks to have 50-ply blanket of layers, like archaeological artifacts whose discoveries elicit more questions than they answer.

The 29-year-old Reed might be better known for his performance works, but the only performance here is imaginary – via “Drawing,” the centerpiece of the show, which lived one life as a dance floor before retiring into wall piece objecthood.

Even the title of the show, Three Works, is a piece of misinformation. Actually, there are five.
Because Reed’s works chafe at definition even as they court it, no attempt will be made to decrypt them here. Instead, there are two helpful lists of layers which the works variously inhabit and the tensions they explore.

1. Drawing (2019-2021) approximately 4ft x 9ft - wood, latex paint, indigo, sweat, rubber, blood, saliva, dirt, velcro

2. Sheath (2021) - hand-studded leather jacket, 24k gold hex spikes, brass studs, display stand

3. Concrete (2020-21) - flowers, metal shelf, paper, cellophane, ink

4. Untitled (Legs) (2021) - framed set of two matte photo prints

5. Untitled (Umbrellas) (2021) - framed set of two matte photo prints


The works have 24 layers, as:

• plinth
• calendar
• body
• envy
• dance
• tea leaves
• sex
• trash
• revision
• cryptography
• minimalism
• collection
• memory
• homage
• history
• set
• exclusion
• shibboleth
• evidence
• chic
• perversity
• monument 
• pyx
• legend

The works have 32 tensions, between:

• suggested and stated
• tangible and untouchable
• inclusion and exclusion
• ab-ex and minimalism
• joy and sadness
• theatrical and permanent
• visible and invisible
• past/plasticity, present/plasterity, future/posterity
• smudged and pristine
• loss and leftover
• peace and violence
• flux and stasis
• race and erasion
• packaging and prize
• communal and contemplative
• public and personal
• fabrication rate and approval rate
• lazy/passive and industrious/active
• artifact and human
• sculpture and painting
• utilized floor and fetishized wall
• purpose and accident
• valueless and value-added
• artwork and film screen
• flotsam and jetsam
• digital and manual
• horizontal and vertical
• simple and multiple
• show and shambles
• literal and abstract
• myth and truth
• life and death


Elliot Reed is a contemporary artist and director. His projects span performance, choreography, video, and sculpture.

He is the founder, director, and sole employee of Elliot Reed Laboratories, a production office located within the artist’s body. Established in 2014, Elliot Reed Laboratories holds a copyright with The Library of Congress and a Los Angeles County business license.

Elliot Reed’s work has shown at MoMA PS1, The Getty Museum, Kaufman Music Center, Dorothy Chandler Pavilion, The Broad Museum, Geffen Contemporary at MOCA, OUE Skyspace, The Hammer Museum, University of Chicago, University of Southern California, and UCLA, in addition to international performances in Tokyo, Osaka, London, Vienna, Berlin, and Mexico City. In 2019 he taught a sound course at California Institute of the Arts (CALARTS). He received the Rema Hort Mann emerging artist grant in 2019 as well as a danceWEB scholarship for ImPulsTanz performing arts festival in Vienna.


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OCDChinatown
75 East Broadway
New York, NY 10002
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Sat & Sun 12-6pm
or by appointment

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