“A critique of Capitalism’s effects on the body is explored in Leah Sandler’s para-fictional research institute, the Center for Post-Capitalist History (CPCH). In her elaborate project she questions “what and who holds historical value.” In Sandler’s vision the body should be understood as a valuable archive of information that can reorient our understanding of knowledge production and the writing of history. For Sandler, it is imperative that we develop alternative forms of documentation and inscription during times of extremis. The CPCH adopts the language of a federal relief agency, and is composed of three branches, “The Body Bureaucratic,” the “Institute of Experimental Inscription,” and the “Archive of Scarcity.” Through its banal logo, informational booklet, didactic posters, clinical lab coat, and slick instructional video we are presented with a toolkit for a post-apocalyptic landscape forged by scarcity and scavenging and shaped by an endless stream of itinerant refugees. However, there is a moment when one realizes that this is not a science fiction fantasy and in fact a commentary on contemporary conditions.”
—Alex Klein, Dorthy and Stephen Weber Curator, Institute of Contepmorary Art Philadelphia
Center For Post Capitalist History Flag
Center For Post Capitalist History
install shot at Ice Box Project Space, Philadelphia, 2017
Center For Post Capitalist History brochure
tri-fold laser printed brochure, 8.5x11, 2017
An Archive of Scarcity Theory and Practice
Handbook document, 2017
Center For Post Capitalist History Introductory Video
1 minute and 35 seconds, 2017
These collections of ephemeral objects and poetic taxonomies explore the impetus of nostalgia in the creation of systems of organization and transference of information infrastructures from analog to digital, as well as the role of language as both sign and signified in the translation of object into idea.
A performance of empty repositories and nostalgic technologies, October 2015-December 2015
A Cabinet of Missing
We All Dream Utopia
Through the visual language of nonobjective abstraction, these playful and consistently sized/colored compositions, produced as needed, function as my attempt to create a quick and consistent exchange of my art labor into liquid assets during a period of financial strain due to unemployment. These paintings are a distinct formal divergence from much of my other work, as their conceptual purpose is that of a desirable commodity, a function intentionally avoided in other works. Each 5”x7” gouache and ink painting on yellow Rossler card stock is priced to be sold at $5, subverting the tradition of art objects as luxury consumables and instead attempting to create a financially viable and accessible exchange through many small transactions.
In the art historical tradition of portraiture of artists’ patrons, this series of hand-drawn logos of the financial institutions I am indebted to playfully points to the bleak, contemporary economic landscape of many practicing artists burdened with student debt.