2015 IN ART
Season Five: Year In Review
This season in art was our fifth and one of our most expansive yet – we welcomed artist/poet/character Jack Walls to Hudson in his exhibition “Paintings, Et. Cetera” – an incredibly talented man who has served as a source of inspiration for a generation of young artists including Ryan McGinley, Dan Colen, and the late Dash Snow. Dan Colen also joined us for this year’s Basilica SoundScape, when he spent a week in residence in our factory to create his Tar and Feather paintings to adorn the space. Also opening that weekend, curators Michael St. John, Javier Magri, Carol McCranie, and Tyler Moore presented a smart, reflexive group exhibition entitled The Now Forever. Curated by Daniel Peterson, Psychic Green Trailer was a site-specific installation by Bard MFA sculpture candidate Alan Danielson housed in our very own former Hudson Handling trailer. CATCH, the rough-and-ready performance series headed up the river to conquer Hudson and possibly America. And, we were proud to incubate the first iteration of HQTBD, an innovative roving art project that showcased the work of local artists. (more…)
PSYCHIC GREEN TRAILER
a Historic Marker / Installation by Alan Danielson
curated by Daniel Peterson
ONE NIGHT ONLY!
OPENING EVENT: SATURDAY, AUGUST 1, 6-8 PM
The Former Hudson Handling Trailer, turned PSYCHIC GREEN TRAILER.
Tony Stone, Co-Founder of Basilica Hudson, preserved the former Hudson Handling trailer on Basilica’s property as a relic of Hudson’s industrial past. The trailer has evolved into a location for a site-specific artist-in-residency project, directly informing the work made during time spent inside the trailer.
Alan Danielson noticed the trailer while visiting Basilica for an exhibition featuring work by his friend Daniel Peterson in 2014. Without knowing or speaking to Tony, Alan picked up on the ideas brewing for the location. Proposals were made. Hands were shook on location at sunset. Psychic Green Trailer begins here.
Playing off of roadside attractions and reconstructed historical landmarks meant to display evidence of important past events as if the figure has just vanished (e.g., Thomas Edison’s desk), the objects in the Psychic Green Trailer have been re-contextualized as artifacts from a future or parallel dimension that create a fictitious and contradictory history. These alternate and intersecting narratives question the reliability of how we write, present, and interpret history as well as how we conceive possible futures in present time.
The reinterpretation of the history of the trailer and its contents punctures expectations of the present and collapses time (past, present, and future). Time is displaced, yet an instructional language establishes itself, providing a temporal continuum that resists interpretation as a linear narrative. The project pivots between magic and belief and tries to imagine a past and future that never occurred.