03 June 2004 - 10 July 2004
Glad Day, 2004, installation view, Foxy Production, New York
Glad Day, 2004, installation view, Foxy Production, New York
Jane Benson, Khaki Chandelier, 2004 (detail.)
Glad Day, 2004, installation view, Foxy Production, New York
David Noonan, untitled, 2004, gouache, silkscreen print, 20 x 20 in. (50.8 x 50.8 cm)

Foxy Production announces GLAD DAY, a group exhibition that presents narratives from recent, distant and mythic pasts that respond to contemporary conditions. Glad Day, William Blake’s enigmatic color print from 1794, depicts the character Albion (both man and nation) ecstatic at his freedom from the slavery of materialism; a revelry that is also a “dance of Eternal Death.” Mythological narrative with compelling contemporary resonance is the inspiration for Glad Day: from the allegorical imaginings of early Man to a collection of recordings of surveillance cameras from distant places, these elegant and intricate works offer contemplation upon a conflicted world.

Jane Benson conjures a khaki chandelier, fabricated from party decorations. Evoking bygone military pomp, the object is at once majestic and absurd, a symbol of faded power and glory. Sean Dack presents C-prints sourced from surveillance cameras positioned in random places across the globe. A video projector, connected to web-streams from the various cameras, is used to develop the photographic paper. Dack intercepts the live flow of information to create moody deep-red images of displacement.

David Noonan’s sepia-toned gouaches in heavy elaborate frames and his earth-toned silkscreen print of a crocheted house create a retrospective aesthetic, an otherworldly past that is too disquieting to be nostalgic. Joshua W.F. Thomson presents the “Institute of Ape Culture”. A framing device for drawings, video and performances, the Institute imagines early man’s engagement with basic utilitarian problem-solving and the development of a symbolic order.