this one is smaller than this one.
curated by Paulina Bębecka


January 30 - March 19, 2016



Elliott Young | Nick van Woert | Lawrence Weiner | Xu Wang | Radek Szlaga | Agathe Snow | Harriet Salmon | Ryder Ripps | Pussykrew | Niki de Saint Phalle | Serkan Özkaya | Jennifer Catron & Paul Outlaw | Narcissister | Jenny Morgan | Jonathan Monaghan | Laura Murray | Gregg Louis | Richard Ibghy & Marilou Lemmens | Kristen Jensen | Daria Irincheeva | Andrew Thomas Huang | Hugh Hayden | C.J. Chueca | Monica Cook | James Case-Leal | John Byam | Olaf Breuning | Bogyi Banovich


Postmasters is pleased to present an exhibition of small sculptures and big ideas. The works in the show - made from porcelain (both sculpted and 3D printed), ceramics or bronze, as well as less traditional materials such as horse manure, pixels, and words - were created by 28 artists between 1980 and now, measure one inch to two feet, and aim to address concepts of love, religious mass suicide, bio-tech spores, vagrancy, identity, alchemy, economic equilibrium and digital artifacts, among others.

This exhibition is my offering for you, the viewer, to rediscover small scale. If you are still at a loss of experience, rub the bronze nose for good luck on your way out.

Artists have an ability to move monumental ideas through their art into our minds and souls. Personally, some of my most meaningful experiences include conversations with artists enveloped by the totality of their preoccupations, obsessions, imagination, knowledge, and interpretations. The title of the exhibition this one is smaller than this one. manifested itself into existence through the mind of the poet Robert Fitterman, during one such memorable conversation around a dinner table.

Roberta Smith is rumored* to have flirted that the best works of art are those which one can take home in a taxi. It is not necessary for art to take gigantic form to convey its supposed meaning(s). The scale is irrelevant if not distinctly premeditated to support a set purpose. The physicality of sculpture has a visceral effect on the viewer's body and so, at the Istanbul Biennial, the small fragile graph sculptures of Richard Ibghy and Marilou Lemmens, made of sticks, string, foil, and paper, immediately seduce the eye as these simple materials is all it took to represent the complexity of economic theories and current statistical data. For this exhibition Ibghy and Lemmens reimagined variations of the unattainable concept of the economic equilibrium in the new series All the Kings Horsemen. Starting off with the graph sculptures, the search began for other modestly scaled representations of grand themes in art.

C. J. Chueca, a Peruvian artist, based in NYC sculpts portraits of the homeless men and women she works with through the Coalition For The Homeless or encounters on streets. Chueca arranges mundane objects, such as dice, erasers, sticks and cardboard to form these portraits, which she then carefully molds by hand into precious porcelain wall reliefs, a portion of the sales of which will directly support the efforts of the Coalition For The Homeless.**

The mystical axis of evil manifests itself plenty fold throughout the exhibition beginning with the seemingly innocent and seductive ceramic mini cups coated with cancerogenic gunmetal paint by the British artist Elliott Young. Olaf Breuning's humorous wooden work, Kaboom, is a representation of the not so funny atomic bomb mushroom cloud. Jennifer Catron and Paul Outlaw restaged the crime scene of Heaven's Gate deliberate mass suicide. This work is complete with the distinct ceramic black-and-white Nike Decades standing beside each of the sect member's 39 miniscule bunk beds.

Global climate issues run with the golden cicada swarms by Laura Murray, plastic predatory botanicals of Bogyi Banovich and Pussykrew's speculative future life forms - the one-inch, one-cell spores, which result from mutations of biological organisms with machines. The virtual sculptures of Andrew Thomas Huang, Hyperskins,cycle in an infinite loop through multiple surfaces, textural incarnations inspired by the philosophy of "hyper objects" by Timothy Morton - the idea that today's objects lack a "discreteness" and instead are pervasive, multidimensional and ever-changing throughout phases of time, space and relative orientation to other objects independent of human consciousness.

Ryder Ripps comments on the question of how does one commodify the popularity of digital ephemera by rarifying one of the most popular internet memes, Pepe The Frog, rendering it in 15 ounces of 18 karat solid gold - effectively creating the rarest Pepe in the world. The Rare Pepe, or Why Post-Internet Art Is Stupid also has a his own website goldpepe.com. This ubiquitous meme started in 2005 and has been seen on everywhere from your mom's feed to Miley Cyrus'. The meme's irony is that one digital image can be "rarer" than another, which is also its punchline.

-Paulina Bębecka

*Rumored because I can't locate the written reference, but I have it on good authority that Roberta Smith has said this once. \_(ツ)_/

** Design by Tamas Banovich

*** To help The Coalition for the Homeless, please visit their website www.coalitionforthehomeless.org or make a direct coat donation through amazon.com.

**** The exhibition will travel to Gallerist, Istanbul, Turkey in April 2016.






this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View



this one is smaller than this one.

2016
Installation View
Agathe Snow
Suck-Hole

2016
rubber plug, rubber cast breast, enamel, aluminum chain
4.5 x 4.5 x 3inches
Daria Irincheeva
Spawn

2015
found rusted spray paint container, found asphalt, found piece of a road, epoxy
14 x 11 x 7 inches



this one is smaller than this one.

2016
Installation View


Ryder Ripps
Rare Pepe, Or Why Post Internet Art is Stupid

2015
15 oz. 18 karat gold, website goldpepe.com
3 x 4 x 3 inches
unique
Xu Wang
Golden Venture

2016
sugar
7 x 4 x 3 inches
unique


Jonathan Monaghan
Roy

2015
3D printed porcelain, 3D printed 18K gold plated brass
4.6 x 2.5 x 7.5 inches
edition 4 of 5 + 1 AP

this one is smaller than this one.

2016
Installation View
Elliot Young
Toxic

2015
ceramic
1-2 inches in diameter each

this one is smaller than this one.

2016
Installation View
Harriet Salmon
Tetrahedron

2016
hand-carved maple, ceramic, felt, Velcro
From the series "Platonic Solids,"
25 x 25 x 25 inches
Jen Catron and Paul Outlaw
In the Future the Past will be different. (Part 2)

2016
wood, ceramic, fabric
28 x 28 x 10 inches
Jen Catron and Paul Outlaw
In the Future the Past will be different. (Part 2)
(detail)
2016
wood, ceramic, fabric
28 x 28 x 10 inches
Radek Szlaga
BOZIA

2016
melted plastic, toy cars, bulldozers, tractors
12 x 8 x 3.5 inches

this one is smaller than this one.

2016
Installation View
Kristen Jensen
Idle Rice
, 2011-2016, unglazed porcelain
Long cig, 2012, unglazed porcelain with luster
Untitled, 2015, oversize jawbreaker with gold leaf
Smile III, 2014, glazed porcelain
Bottlecap, 2015, porcelain with iron oxide
2 x 12 x 18.5 inches overall installation

this one is smaller than this one.

2016
Installation View
Olaf Breuning
Kaboom
(left)
2015
wood, paint
9 x 3 x 10 inches

Life Sucks
2015
wood, paint
22 x 11.5 x 5 inches
Nick van Woert
Untitled

2015
nickel plated electroformed copper, plastic statue, stainless steel base
14.5 x 6 x 4 inches
Monica Cook
Cobra

2015
stockings, acrylic paint, porcupine quills, baby nasal aspirator, wire, silicone
12 x 8 x 9 inches
C.J. Chueca
this one is smaller than this one.

2016
Installation View
C.J. Chueca
Neal

2015
ceramic
9.25 x 3.5 x 2 inches
James Case-Leal
White lead teeth with extinct flowers
(foreground)
2016
lead, lead carbonate, copper, pigment
7 x 4 x 2 inches

My parents teeth cast in lead in a box of horse shit turning white in the same way dutch masters made white pigment for paint
2016
acrylic, lead, horse manure, white vinegar
10 x 10 x 10 inches



John Byam
this one is smaller than this one.

2016
Installation View



John Byam
airplane
, n.d.
wood, glue, sawdust
1 1/2 x 4 1/4 x 6 1/2 inches



John Byam
Untitled
, n.d.
wood, glue, sawdust
2.75 x 5 x 2.5 inches
Hugh Hayden
Zelig (foreground)

2013
sharptail grouse feathers on logs
10.5 x 18.5 x 15 inches


Hugh Hayden
Untitled

2016
human hair embedded in silicone on panel
12 x 6 x 5 inches
edition of 3 + AP
Richard Ibghy and Marilou Lemmens
All the Kings Horsemen

2016
Installation View
Richard Ibghy and Marilou Lemmens
Marginal Cost to Society

2016
mixed media
6.25 x 7.25 x 2 inches

Incentive Monotonicity in Games
2016
mixed media
6 x 7.5 x 2 inches
Richard Ibghy and Marilou Lemmens
Market Failure Arising from Negative Externalities

2016
mixed media
6 x 8 x 2 inches
Richard Ibghy and Marilou Lemmens
Nash Equilibrium a.

2016
mixed media
6 x 7.5 x 2 inches
Richard Ibghy and Marilou Lemmens
Market Equilibrium

2016
mixed media
6 x 6 x 6 inches
Jenny Morgan
Devotion

2016
balsa wood and wire
7 x 4 x 2 inches
Hugh Hayden
Woodpecker (new natives)

2012
domestic Chinese ring neck pheasant feathers on found hammer
6.5 x 3.5 x 1.5 inches
Lawrence Weiner
THE ABROGATION OF THE INHERENT DESTINY OF ANY OBJECT AT HAND

1998
LANGUAGE + THE MATERIALS REFERRED TO
dimensions vary
Bogyi Banovich
Corner

2016
plastic
9 x 8 x 9 inches

Little Creeper
2016
plastic
4 x 3 x 3 inches

Pawn
2016
plastic
6 x 3 x 3 inches

3 Flowers
2016
plastic
11 x 12 x 9 inches
Niki De Saint Phalle
BAIGNEURS OU DANSEURS - BATHERS OR DANCERS

1980/1981
painted polyester with mat acrylic varnish
20 x 19 x 13 3/4 inches (51 x 48 x 35 cm)
edition 50 of 150
Pussykrew
Spore 001

2016
1 x 1.2 x 1.35 inches

Spore 002
2016
1 x 1 x .75 inches

Spore 003
2016
1 x .9 x .9 inches

Spore 004
2016
.8 x .8 x .85 inches
3D printed plastic
edition of 12 + 2AP each