Carriage Trade

Another Green World

peter scott — 2010-09-10T17:20:41Z

Another Green World intends to draw parallels between the genre of landscape and the current preoccupation with "green" in popular culture. While the romanticism of 19th century landscape tradition linked the sublimity of nature with the existence of God, it also lent inspiration for westward expansion and the underlying impulse of “man's” dominion over nature. This mixture of the profound with the pragmatic speaks to a fundamental contradiction in society's relationship to nature, as the unchecked use of natural resources clashes with the idyllic image of nature as a world "set apart" and untouched by daily life. The commercial appropriation of green imagery is the most recent manifestation of this contradiction, as “green washing” facilitates the smoothing over of a conflict that most likely originates in the landscape tradition itself, where the detached appreciation for the wonders of nature eventually yields to the need to possess and control it.

Archival Material ("doubles")

peter scott — 2010-08-15T23:37:35Z

Kickstarter

peter scott — 2010-08-15T21:43:00Z

The “rewards” (posters, catalogues, videos, archival material) for a donation to carriage trade are described below. The archival material included in carriage trade exhibitions and offered here is produced by the gallery and provides a fact-based context for the artworks in the show. Employing the formal properties of traditional exhibition presentation, the content of this material often reflects the adage “truth is stranger than fiction.”

Note: For pledge amounts of $75 (“look-a-likes”) and $175 (“doubles”) please e-mail us, your image preference and we'll do our best to accommodate you depending on availability. For the $350 pledge, the five look-a-likes are a fixed set.

Once you've made your decision, please go to our Kickstarter page to donate.

Click to enlarge

Pledge $25
“Another Green World” poster

The exhibition will include work by Betty Beaumont, Neil Jenney, Barbara Ess, Nancy Holt and Robert Smithson, Mathias Kessler, among others.

Click to enlarge

Pledge $45
“Another Green World” poster and “Mistaken Identity” catalogue

With texts by carriage trade director and curator Peter Scott, and Fred Dewey, former director of Beyond Baroque, Los Angeles.

Pledge $75
Archival Material (“look-a-likes”), 2008

From a series of “look-a-likes” of media personalities originally included in the exhibition "The Cult of Personality" at carriage trade in 2008 and Galerie Erna Hecey, Brussels in 2009.

archival inkjet print, 9" x 5," framed, ed. 10

See all available pieces

Click to view trailer

Pledge $125
Diane Nerwen, Open House, 2009

Diane Nerwen's Open House, (Chapter 1: Removal) was first exhibited at carriage trade in 2008. Lengthened to a 31-minute video, Open House was recently shown at MoMA. The video presents powerful evidence of the destabilizing effects of the speculative housing boom in the Willamsburg section of Brooklyn.

video, 31-minutes

Click to enlarge

Pledge $175
Archival Material ("doubles"), 2010

Included in the exhibition “Mistaken Identity,” the series pairs an image of a politician/celebrity with an image of their possible double displayed side by side.

archival inkjet print, 10" x 10," framed, ed. 5

See all available pieces

Click to enlarge

Pledge $250
Archival Material (Diana), 2008

This image is from a newspaper article concerning a portrait of princess Diana that inspired Elton John. The article claims that Elton brought the portrait on tour and “talked to” Diana before each concert. Included in the exhibition "The Cult of Personality" at carriage trade in 2008 and Galerie Erna Hecey, Brussels in 2009.

archival inkjet print, 17" x 22," unframed, ed. 10

Click to enlarge

Pledge $350
Archival Material (“look-a-likes”), 2008
set of five

From a series of “look-a-likes” of media personalities originally included in the exhibition "The Cult of Personality" at carriage trade in 2008 and Galerie Erna Hecey, Brussels in 2009.

archival inkjet print, 9" x 5," framed, ed. 10

Click to enlarge

Pledge $900
Archival Material (Trigo/Osama), 2010

Shown in the exhibition “Mistaken Identity.” The image and text are derived from a letter sent to the FBI by the Spanish leftist politician Gaspar Llamazares Trigo. Trigo took issue with the FBI's use of his image in a photo composite with Osama Bin Laden's face, intending to show how Bin Laden might appear as an older man.

archival inkjet print, 18” x 24," framed, ed. 10

Pledge $1,400

One Archival Material (Trigo/Osama) piece from “Mistaken Identity.” Plus, one Archival Material (Diana) piece. Plus, a set of five Archival Material (“look-a-likes”) pieces.

peter scott — 2010-07-18T20:18:09Z

Mistaken Identity Catalogue

peter scott — 2010-06-29T18:53:25Z

Purchase a 'Mistaken Identity' catalogue with texts by
writer Fred Dewey, former director of Beyond Baroque,
Los Angeles, and carriage trade director and exhibition
curator Peter Scott.

James Siena

peter scott — 2010-06-11T20:21:47Z

For more information, please contact:
pscott carriagetrade.org

Tim Rollins and KOS

peter scott — 2010-06-11T20:21:33Z

For more information, please contact:
pscott carriagetrade.org

Vito Acconci

peter scott — 2010-06-11T20:21:22Z

For more information, please contact:
pscott carriagetrade.org

Dan Graham

peter scott — 2010-05-30T22:08:54Z

As an early example of Dan Graham's photographic work, “Two Housing Projects, New York, NY” could be seen as representative of what would become a long-term preoccupation with architecture and the city plan. The influence of minimal artists such as Donald Judd is readily apparent in the verticality of the image, as well as the “stacking” of the sets of balconies on both sides of the picture. Taken during the same period as the “Homes for America” photographs as well as text pieces such as Schema, both intended for magazine distribution, Graham's initial interest in the medium of photography came partly out of a reluctance to accept the sequestering of art within the gallery system, whose “containers” had been highlighted by minimal art's emphasis on the materiality of the art object. As part of a larger discursive practice that stretches across writing, performance, video, models and pavilions, Graham's photographs could be seen as visual “think pieces” within a medium that offers immediate responses to elements of the built environment that are symptomatic of his line of thought, and have proven highly influential on younger generations of artists who have taken up the problem of art's relationship to architecture.

For more information, please contact:
pscott carriagetrade.org

peter scott — 2010-05-18T03:23:22Z

Ronald Cotton

Incident Year: 1984
Jurisdiction: NC
Charge: Rape, Burglary
Conviction: Rape (2 cts.), Burglary (2 cts.)
Sentence: Life plus 54 Years
Year of Conviction: 1985, 1987
Exoneration Date: 6/30/95
Sentence Served: 10.5 Years
Real perpetrator found? Yes
Contributing Causes: Eyewitness Misidentification,
Unvalidated or Improper Forensic Science
Compensation? Yes

From a March 10, 2009 Meredith Vieira interview on the Today Show with Jennifer Thompson-Cannino and Ronald Cotton.

VIEIRA: Jennifer, I want to go back to 1984—July 1984. You're a college student. You're raped, and you made a point that night as you were being raped to study everything you could about the person who was raping you, because you were committed, if you survived, to getting that guy. And a few days later, you identified in a lineup Ronald as the—I'm sorry—Cotton as the man who raped you. Why were you so certain it was him? Ms. THOMPSON-CANNINO: Well, that's just the way memory works. You know, memory takes certain visuals and oftentimes, in my case, after doing a composite sketch, that was the last visual I had in my memory. It's very sub-conscious, but when I went to the photo lineup, what I'm drawing from, from my memory, is a composite sketch. And there's six photographs in front of me, and subconsciously I'm trying to figure out the person in the photographic lineup that most closely resembles a composite sketch...
VIEIRA: That sketch.
Ms. THOMPSON-CANNINO: ...as opposed to the actual attacker. When I went to a physical lineup several days later, again, my last visual I have is, all subconscious, is a photograph.
VIEIRA: But you had no doubt. I mean, you weren't even—there wasn't a part of you that said...
Ms. THOMPSON-CANNINO: No.
VIEIRA: ...`this might not be the right person'?
Ms. THOMPSON-CANNINO: No. Not at all. I was 100 percent certain. VIEIRA: So Ronald, I know you had a few run-ins with the police prior to this whole thing, and so they knew about you, but you also knew you were innocent.
Mr. COTTON: Correct.
VIEIRA: You find yourself in a trial, a week later you're convicted of rape, you're sentenced to life in prison. It had to be a nightmare for you.
Mr. COTTON: It was indeed. I just had to keep myself together, which wasn't easy at all. I was missing my family, my loved ones, but they was behind me 100 percent. So I just took it day from day and hoped that true justice would prevail and open doors for me.
VIEIRA: Well, not long after you entered prison, a new inmate came named Bobby Poole, and you took one look at him—he was in prison for rape—you took one look at him and you said `I'm serving time for that man's crime.' Why did you connect Bobby Poole with what happened to Jennifer?
Mr. COTTON: For the simple fact he resembled the composite sketch. I immediately went to my dorm, pulled out the article that I had taken with me. I compared it with Poole. I confronted Poole a couple days later and asked him.
VIEIRA: Did he do it?
Mr. COTTON: Did he commit the crime? And he denied it. But later on, as my sentence continued to be served, I ran into one of Poole's friends, and he told me that Poole confessed to him that he had me serving time for a crime he had committed upon Jennifer.
VIEIRA: So you took a picture of Poole, sent it to your lawyers. That resulted in a second trial. You're there for the second trial. You are face-to-face now with Bobby Poole...
Ms. THOMPSON-CANNINO: Mm-hmm.
VIEIRA: ...the man who actually did rape you.
Ms. THOMPSON-CANNINO: That's correct.
VIEIRA: You never put it together?
Ms. THOMPSON-CANNINO: No. Not at all. People have asked me that, like, `was there an aha moment when you saw him?' And no, there was not. Because now three years had gone by. Ronald Cotton was the rapist, period. That's how memory works. It's so fragile. It's so easily contaminated.

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