Petzel is pleased to present Downloadable, an online exhibition that offers works available for free and unlimited download, contributed by Petzel artists. The show explores ideas of looking, ownership, and originality as art experiences have been forced into the digital realm. We now find ourselves drowning in emails touting various iterations of virtual exhibitions, walk throughs, viewing rooms, and art fairs. With our pleasure of seeing works in person disrupted, the notion of looking at art has radically shifted. While the digital files may be the same for all visitors, the experience and context surrounding each download is different, and as a result a new unique work is created for the viewer every time. Petzel is grateful for our artists’ contributions with offerings from GIFs, to collages, to poetry, photographs, audio files, screenplays and beyond.
Stephen Prina presents Threatening Danger, Fear, Catastrophe, a video animation of a rhythmic light sequence, looping in perpetuity. Once imagined as a public artwork, it incorporates lampposts that shine in two different ways. The title is a reference to Schönberg's symphonic poem Accompaniment to a Cinematographic Scene, first realized as a film score by Danièle Huillet and Jean-Marie Straub in the 1972 film Introduction to Arnold Schönberg's "Accompaniment to a Cinematographic Scene." Flattened through their digitization, the sculptural qualities and textures of Rezi van Lankveld’s collage and drawing transform into something new. Thomas Eggerer’s original Drawing for Yellow Harvest #4 was destroyed in Hurricane Sandy leaving behind only a digital trace – here, as part of the exhibition, its jpeg finds a poetic afterlife. Several artists request collaboration on the downloader’s part: Jorge Pardo has begun the process of adding color to a painting, and invites the downloader to complete the composition; Christian Jankowski calls for participation in his new work Jankowski 4.0, by requesting that viewers create a Dada Poem via an online Poetry Generator and film themselves reading it. The video is then to be posted on Instagram using the hashtag #Jankowski4.0; Allan McCollum offers ever-evolving insight into his practice and requires viewers to take their own screenshots from his new website as a form of downloading. Through an array of experiences, Downloadable bends the definition of collecting an artist’s work and experiencing an exhibition today.
Downloadable includes work by Yael Bartana, Walead Beshty, Ross Bleckner, Simon Denny, Keith Edmier, Thomas Eggerer, Robert Heinecken, Dana Hoey, Christian Jankowski, Sean Landers, Rezi van Lankveld, Allan McCollum, Jorge Pardo, Seth Price, Stephen Prina, Jon Pylypchuk, Willem de Rooij, Pieter Schoowerth, John Stezaker, and Hiroki Tsukuda.
Threatening Danger, Fear, Catastrophe
Animation: Devon McDonald-Hyman
Stephen Prina presents Threatening Danger, Fear, Catastrophe, a video animation of a rhythmic light sequence, looping in perpetuity. Once imagined as a public artwork, it incorporates lampposts that shine in two different ways. The title is a reference to Schönberg's symphonic poem Accompaniment to a Cinematographic Scene, first realized as a film score by Danièle Huillet and Jean-Marie Straub in the 1972 film Introduction to Arnold Schönberg's "Accompaniment to a Cinematographic Scene."
Tsukuda created these three graphics from 2008-2013 during his development as a graphic artist. The original renderings served as source images for his signature black & white works on paper and sculpture.
4 x 6 inches
These photographs were selected from Bleckner's notebooks dating from the early 90s. Both photos were taken by Bleckner and have been used as inspiration and source material for a variety of different paintings in the years since.
6 x 4 inches
Digital Self Portrait, February 1988
Made on a Commodore Amiga 2000 computer in February 1988 using a New Tek Digi-View video digitizer and New Tek Digi-Paint software. Originally saved as an Amiga IFF file and output to Kodak Ektachrome 100 35mm film with Polaroid’s FreezeFrame Video Recorder. Drum scanned in 2020 and saved as a TIFF file.
Rezi van Lankveld
Collage, acrylic, and ink on paper
11.8 x 8.3 inches
Rezi van Lankveld
Ink on paper
11.8 x 8.3 inches
Drawing for Yellow Harvest #4
Acrylic, pencil and carbon on paper
79 x 90 inches
Thomas Eggerer’s original Drawing for Yellow Harvest #4 was destroyed in Hurricane Sandy leaving behind only a digital trace.
What Do Paintings Say?
Oil on linen
72 x 61.5 inches
Each of Sean Landers’s Aspen tree paintings presents a complete poem when read from the upper left corner to the bottom right. Download the corresponding poem for three paintings here.
Oil on linen
72 x 61.5 inches
In the Wind
Oil on linen
77.25 x 59.5 inches
Shifted Sims #6 (Tropical Romance Island Community Event)
Schoolwerth's paintings utilize a unique 3D relief "infrastructure" – he first photographs 3D models (composed off of a Sims 4 screenshot), embeds the matching fragments of the screenshot back into the model in photoshop, prints the file out on canvas, and applies paint on top. These gifs illuminate Schoolwerth’s process and connect the model to the finished painting, allowing viewers to better understand his technique.
A mix of ten tracks off the LP White Moods (a continuous composition of various white noise segments) that Seth Price Studio created in 2016 to play in galleries where Price’s light boxes were installed. Listen and try to catch where each different mood of white noise transitions into the next.
Revised Magazine Portfolio: American The Violent
Re-collated Magazine Pages
A series of diptychs from Robert Heinecken presented here as a unique GIF. The work opens with a Time Magazine cover image that Heinecken coupled with a passage from French writer, André Breton. The cover perfectly captures early 90's distress about crime in America and the re-collated pages that follow in the inserted folio come from editorial features gathered from a variety of magazines of that time period. Some of the images are quite benign on their own but come across as menacing subsequent to the title page.
Unmaskings [1925-2012: Phantom of the Opera (1925), The Face of Another (1966), Mission: Impossible (1966), Mission: Impossible (1970), Mission: Impossible (1971), unknown (1971), Lupin III (1972), Smokey the Bear (1973), Fantastic Journey (1977), Dominique is Dead (1980), V (1983), Miller Lite: The Case of the Missing Case (1986), If Tomorrow Comes (1986), Hell Squad (1986), Visionaries: Knights of the Magical Light (1987), Beetlejuice (1988), Naked Gun (1988), American Ninja 3 (1989), Cheers (1989), Darkman (1990), Ferris Bueller (1990), RoboCop 2 (1990), Total Recall (1990), Popcorn (1991), Steel and Lace (1991), Bill and Ted’s Bogus Journey (1991), Droopy: Master Detective (1993), Droopy: Master Detective (1993), Darkman II: The Return of Durant (1995), Megaman (1995), Snackwell’s (1996), Waffle Crisp (1996), FX (1996), Fired Up (1997), Outlaw Star (1997), Michael Jackson’s Ghosts (1997), Men in Black (1997), Sony MiniDisc (1998), Omnitel (1998), Subaru (1998), Charlie’s Angels (2000), Diabolik (2000), La Femme Nikita (2000), Road to Ruin (2000), Passions (2001), BBC (2001), Monkeybone (2001), Alias (2001), Mutant X (2001), Master of Disguise (2002), Pepsi Twist (2002), Kekkaishi (2003), Average Joe (2003), Britney Spears’s Toxic (2003), Cariot (2004), Bleach (2004), Mission: Impossible III (2006), Red Remo (2006), Pushing Daisies (2007), Carlsberg (2007), Nogizaka Haruka no Himitsu (2008), Old Spice (2009), Camaleones (2009), Salt (2010), Days of Our Lives (2011), Toyota Corolla (2011), Players (2012)]
Digital video file
Color, sound, 41:06 min
Walead Beshty contributes a compilation of YouTube clips of people taking masks off.
Unmaskings [16:9 Desktop Wallpaper Gender Reveal Party (1962–2001: Jimmy Olsen 59; Super Girl and Wonder Woman 63; Jimmy Olsen 79; Detective Comics 335; Bob Hope 93; BlackHawk 210B; Action Comics 349; Jimmy Olsen 111; Green Lantern 69; Action Comics 379; Detective Comics 407; Adventure Comics 428; Adventure Comics 429; Black Magic 1A; Black Magic 1B; House of Mystery 237; Teen Titans Annual; Batman Family Giant 9; Iron Man 103; Batman 321; Brave and the Bold 176; Detective Comics 507A; Detective Comics 507B; Hawkeye 1; AlphaFlight 12B; Batman 318; Captain America 311; Captain America 320; Boris the Bear 11; Excalibur 1; Excalibur 2; Batman 458; The Mask 1; Human Target 1; Captain Planet 8; Batman 484; Blood and Shadows; DareDevil 358; Gen13 53; DareDevil 241; Betty and Veronica 117)]
Digital image file
Video and poem
In his new work Jankowski 4.0, Christian Jankowski invites the viewers to use the text from the Petzel invitation E-Mail for the Downloadable exhibition as a basis to create a Dada Poem via an online Poetry Generator. Viewers are then requested to film themselves reading their poem and post it on Instagram using the hashtag #Jankowski4.0.
Allan McCollum offers ever-evolving insight into his practice with his Artist Statement Website, which creates, at random, over 146,849,472 possible artist statements, appearing with no predictability. He invites viewers to take their own screenshots from the site as a form of downloading. The above video is merely a brief sample of these many combinations, please click "View Here" to see the full website.
In 1998, McCollum's project “Natural Copies from the Coal Mines of Central Utah” was developed from dinosaur tracks that were discovered by local coal miners in the 1920s. They were carefully excavated and later given to a prehistoric museum in a small town called Price. McCollum made rubber molds from the “original” tracks (or better “natural casts”), recast them in polymer-reinforced hydrocal, and painted them in different colors. In conjunction with the exhibition, McCollum offered articles about these coal mines and dinosaur tracks – you can download those articles above.
THE EVENT: Petrified Lightning from Central Florida (With Supplemental Didactics)
October 20 – November 24, 2000
Friedrich Petzel Gallery, 537 W 22nd Street
For an exhibition in 2000, McCollum spent the summer of 1997 triggering lightning strikes by launching small rockets with hair-thin copper wires trailing behind them directly into storm clouds as they passed overhead. The triggered lightning bolts were directed down the wires into various containers prepared by the artist that were filled with Central Florida minerals donated by a local sand mining operation. The bolts instantly liquefied a column of sand with temperatures up to 50,000 degrees Fahrenheit. This immediately re-congealed into a column of naturally created glass that exactly duplicated the path of the lightning bolt. These were then dug out by the artist in a manner similar to the way a paleontologist might remove a fragile fossil from its matrix. The result is the fulgurite, or what is sometimes referred to as petrified lightning. Using a mixture of epoxy and zircon, 10,000 fulgurites were cast from a single mold. Through this process, McCollum specifically explored the creation of objects by lightning. In this way he also deconstructed commonly held ideas of instant production of objects, and popular metaphors that are often used to describe the processes of creativity, as with our fantasies of receiving "illumination" from above, being "struck" with an idea like a "bolt from the blue." As another element of the installation, he produced a series of over 13,000 small booklets on over sixty subjects related to fulgurites and lightning. This arrangement provided the equal balance between the visual and scientific content that was integral to the exhibition – you can download those booklets above.