On July 7, 1990 Cady Noland opened a solo show at Luhring Augustine Hetzler, the NY- and Cologne-based galleries’ short-lived colabo space in Santa Monica.
Look at it, just look at it. Is there a better place than the end of the America for all this treasure to wash up? There is so much going on here.
Log Cabin Façades*, Cowboys, Oswald, and the SLA were all there, but there is so much we don’t see or hear about now: Neons. Naked Awnings. Broken down floor lamps. Saloon doors, What is that manly ad?
You know who might know? Rawhide-at-Venus-Over-Manhattan curator Dylan Brant, who was probably born in 1990, but who wrote his 2014 senior project at Bard on Noland’s Santa Monica show, something about understanding Noland’s language and meaning about “schizophrenic America.” Sounds lively. I’m going to keep studying the pictures myself.
Cady Noland | Santa Monica, CA: Luhring Augustine Hetzler, 1330 Fourth Street, 7 July – 25 August 1990 [maxhetzler.com]
CADY NOLAND: A Study On Themes, from her 1990 show at Luhring Augustine Hetzler [bard.edu, login req.]
[2018 update: title has been changed. Though referred to and reported as Log Cabin, in a court affidavit filed 4/2/2018, the artist indicates the official title of the work being disputed with Michael Janssen is Log Cabin Façade. I believe this log cabin facade is actually the Stones’, Log Cabin Blank with Screw Eyes and Café Door (Memorial to John Caldwell).]