carrie olson: curated by natalie marsh
DESCRIPTION
Catalogue accompanying January 21 — March 13, 2010 exhibitionTRANSCRIPT
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Carrie Olson
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Carrie Olson Curated by Natalie Marsh January 21 - March 13, 2010
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BOARD OF DIRECTORS
9&17)&3$%:1+);$41),)&1$/8$<1&71&$=-'&.>.-$!-1?-&$4):-?$98$@1A.+14):-?$B8C8$D?*$5.A.-+$B*-+!)&.+-$E-&6.+F-+$G)'H?>H.I,$<&.-+$@8$/'-&1&
CURATORIAL
ADVISORY COUNCIL
9&17)&3$%:1+);<.II$<1&6?)+$J.II.-:$!)&21''K.>H1II1$9&-2+1&F)+-'H-+$E1'H1:$E-&.$=.'':-+4):-?$G):-K-&L)&.1$J1I.?H$
CUE FELLOWS
9&17)&3$%:1+);=)II3$%0M1I2-*:41),)&1$/8$<1&71&N$ChairO-+$!))01&J.II.-:$!)&21''#I1-+)&$D1-&'+13@12)&-H$B-??!)&.+-$E-&6.+F)+-'H-+$E1'H1:G)??-+-$K-&'.+1PF*-+$/Q+>H1PO&A.+7$/-+,I1&N$Senior Fellow!-&)I3+$/):1&?E.II3$J1.
STAFF
Executive Director F1&1:3$%,-:?
Development Director K-&+.$!)&21''
Programs Director <1-'&.>1$J)I1&'RJ11?1
Programs Coordinator G3-+$4):-?$
Development Coordinator S-I.-$/01''1&
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CUE Art Foundation is a 501 (c)(3) non-profit forum for
contemporary art and cultural exchange that provides
opportunities and resources for under-recognized artists.
We value the astonishing diversity of creativity that
artists provide and the importance of their activity in
the social context of the city.
CUE provides artists, students, scholars and art
professionals resources at many stages of their
careers and creative lives. Our programs include
exhibitions, publications, professional development
seminars, educational outreach, symposia, readings and
performances. Since 2002, we have operated from our
4,500 square foot storefront venue in the heart
of New York’s Chelsea Arts District.
CUE exhibiting artists are chosen by their peers who are
themselves selected by a rotating advisory council from
across the country. This pluralistic process ensures that
CUE consistently offers diverse viewpoints from multiple
disciplines of artistic practice.
Simply put, we give artists their CUE to take center stage
in the challenging world of art.
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Artist: Carrie Olson
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`?01>'->I1a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b$.'$.?$'H1$?3?'1:$'H&)*7H$UH.>H$'H1$>)+'1+'$)M$'H1$U)&6$.?$2)'H$>)+?'&*>'1,$-+,$WI'1&1,8$/01>.W>-II3N$O$,&-U$)+$'H1$'&-+?M)&:-'.A1$+-'*&1$)M$)&+-:1+'$-?$-$,1A.>1$')$1X-:.+1$'H1$>):0I1X.'.1?$)M$.,1+'.'3$>)+?'&*>'.)+$.+$>)+'1:0)&-&3$>*I'*&18
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Biography
!-&&.1$cI?)+$U-?$2)&+$.+$/-I'$E-61$!.'3N$"'-H8$/H1$:)A1,$M&1V*1+'I3$UH.I1$7&)U.+7$*0$-+,$1+,1,$*0$?1''I.+7$.+$E)+,)+N$#+7I-+,$M)&$?1A1&-I$31-&?$21M)&1$:)A.+7$2->6$')$'H1$?'-'1?$')$1+&)II$.+$-&'$?>H))I8$/H1$&1>1.A1,$H1&$<(%$M&):$K-??->H*?1''?$!)II171$)M$%&'$.+$<)?')+$.+$^]]d$-+,$H1&$K(%$M&):$'H1$"+.A1&?.'3$)M$!)I)&-,)N$<)*I,1&$.+$eff^8$/H1$H-?$1XH.2.'1,$.+$7&)*0$-+,$?)I)$?H)U?$'H&)*7H)*'$'H1$"+.'1,$/'-'1?$-+,$.+'1&+-'.)+-II38$D1&$:)?'$&1>1+'$?)I)$1XH.2.'.)+?$.+>I*,1$'H1$"&2-+$O+?'.'*'1$M)&$!)+'1:0)&-&3$%&'N$9&-+,$G-0.,?N$KON$eff]b$$'H1$!)II171$)M$J))?'1&$%&'$K*?1*:N$J))?'1&N$cDN$effgb$-+,$'H1$h1+'&*:$(i&$B1&-:.6N$<1&I.+$91&:-+3N$effg8$/H1$.?$>*&&1+'I3$-+$-??.?'-+'$0&)M1??)&$)M$/'*,.)$%&'$-'$@1+.?)+$"+.A1&?.'3$.+$9&-+A.II1N$cH.)8$cI?)+_?$1XH.2.'.)+$-'$!"#$%&'$()*+,-'.)+$:-&6?$H1&$W&?'$?)I)$?H)U$.+$j1U$C)&68$$
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O+$^]geN$4):-?$K>#A.II13$U&)'1$)M$'H1$H)I,$'H-'$!I1:1+'$9&11+21&7_?$M)&:-I.?:$1X1&'1,$)+$'H1$,.?>)*&?1$)M$ef'H$>1+'*&3$-&'k$“Passionate belief systems pass through cultures like disease epidemics.” ^$$K>#A.II13_?$,1>I-&-'.)+$&-.?1?$.+'&.7*.+7$>)+>1&+?$UH1+$>)+?.,1&.+7$'H1$:)?'$&1>1+'$U)&6$)M$-&'.?'$!-&&.1$cI?)+8$ /.'*-'1,$.+$'H1$?.:*I'-+1)*?I3$10.?'1:)I)7.>-II3$,1I.>-'1$31'$0)U1&M*II3$?*2'I1$?.'1?$21'U11+$9&11+21&7.-+$,.?'.+>'.)+?$)M$0*&1$M)&:$-+,$.II*?'&-'.A1$>)+'1+'N$0)'1+'.-II3$+1.'H1&N$0)'1+'.-II3$1.'H1&N$productively bothN$)&+-:1+'$:-3$21$I)>-'1,$-I)+7$-$A.?*-II3$-+,$>)+>10'*-II3$?U110.+7$>)+'.+**:8$!-&&.1$cI?)+_?$0-''1&+1,$:*I'.R:1,.-$.+?'-II-'.)+?$.+?.?'$-'$W&?'$'H-'$U1$-II)U$)*&?1IA1?$')$21$-2?)&21,$23$H1&$.+?.,.)*?I3$-II*&.+7$`\)&-a$)&+-:1+'-'.)+?$2*'$'H1+$`,.?R1-?1a$?1'?$.+$UH1+$U1$W+,$cI?)+$-??.7+?$?.7+.W>-'.)+R:)'.A-'.+7$,.-7+)?'.>$'.'I1?N$Marburg Galliard, H5N1 CakewalkN$'H1$,)*2I1$1A)>-'.)+?$)M$,.?1-?1$-+,$M)I6$,-+>18$D1&$,.7.'-II3$:-+.0*I-'1,$U-II0-01&?$.II*?'&-'1N$.+$'H1$-&2.'&-&3$&10&1?1+'-'.)+-I$?1+?1N$'H1$M)&:?$)M$:3&.-,$:.>&)?>)0.>$:.>&)21?$-+,$A.&*?1?8$/H1$?*&&)*+,?$*?$U.'H$'H1.&$A.2&-+'$-+,$?):1H)U$>):M)&'.+7$&101-'.+7$?'&*>'*&18$C1'N$,.?)&.1+'-'.)+$.?$-&'.>*I-'1,$'H&)*7H$'H1$U-II0-01&_?$I.'1&-I$?H)&'M-IIb$.'$,)1?$+)'$&1->H$'H1$\))&$-+,$H-+7?$I.61$-$,*2.)*?$?'-+,-&,8$(I)-'.+7$I.61$'&1-?*&1,$0)&>1I-.+$H1.&I)):$0I-'1?$-')0$'H1?1$`2-++1&?a$-&1$I)U$&1I.1M$,.?6?$,.?7*.?.+7$'H1.&$,-+71&)*?$01'&.R,.?H$.+H-2.'-+'?$UH)$,-+>1$H-&:I1??$`U-I'P1?8a$41?1$`M)II.1?Na$-?$cI?)+$-0'I3$,1?>&.21?$'H1:N$?*771?'$'H1$+-'*&1$)M$0-&-II1I$>*I'*&-I$>)+?'&*>'.)+?k$M1-&$-+,$'H1$?))'H.+7$:-&61'R&1-,3$,):1?'.>$-&?1+-I$')$>)+>1-I$-+,$>)+'&)I$.'8$ 41$>)+'.+**:$-I)+7$UH.>H$cI?)+_?$U)&6?$'&-A1I$.?$'U.?'1,$-+,$'*&+1,$*0)+$.'?1IMN$I.61$-$K)2.*?$?'&.0$*0)+$UH.>H$M)&:$-+,$>)+'1+'$1X1&'$.+?10-&-2I1$-+,$.+,.?'.+7*.?H-2I1$.,1+'.'.1?8$4.?$>H-II1+71?$9&11+21&7N$UH)$-??1&'1,N$`41$-A-+'R7-&,1$0)1'$)&$-&'.?'$?)*7H'$')$:-.+'-.+$-$H.7H$I1A1I$)M$H.?$-&'$23$2)'H$+-&&)U.+7$-+,$&-.?.+7$.'$')$'H1$1X0&1??.)+?$)M$-+$-2?)I*'1lm%&'$M)&$-&'_?$?-61_$-+,$m0*&1$0)1'&3_$-001-&1,N$-+,$?*2L1>'$:-''1&$)&$>)+'1+'$21>-:1$?):1'H.+7$')$21$-A).,1,$I.61$'H1$0I-7*18ae$$cI?)+_?$U)&6$.?$-+$.&)+.>$&1,&-U.+7$)M$9&11+21&7_?$-*')+):)*?$-&'b$.'$I.'1&-II3$&10&1?1+'?$,.?1-?1$-+,$0I-7*1$1:2),.1,$.+$1XV*.?.'1$M)&:8$D1&$>)+'1+'$.?$H1&$M)&:8$cI?)+_?$U)&6$'H*?$-I?)$7&-00I1?$U.'H$'H1$)A1&-&>H.+7$>)+>1&+?$)M$I-'1$ef'H$>1+'*&3$>1&-:.>$-&'$,.?>)*&?1$'H-'$H-A1$2)'H$0)I-&.P1,$-+,$7H1'').P1,$>1&-:.>?$-+,$>1&-:.>$-&'.?'?$M)&$,1>-,1?k$,)1?$M)&:$'&*:0$M*+>'.)+N$-+,$,)1?$-&'$'&*:0$>&-M'n$cI?)+$>I1A1&I3$230-??1?$'H.?$,.?>)*&?1$.+$'H1$.+'.:-'1I3$.+'1&>)++1>'1,$>)+'1+'$-+,$M)&:$)M$H1&$.:-71&3$)M$'H1$0-&-,)X1?$)M$>)+'1:0)&-&3$I.M18
Curator: Natalie Marsh
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^8$`D1-,?$O'_?$()&:N$S-.I?$O'_?$j)'$!)+'1+'Na$ArtforumN$^]geN$&10&.+'1,$.+$-$I-'1&$A1&?.)+$.+$Capacity: History, the World, and the Self in Contemporary Art and CriticismN$#??-3?$23$4):-?$K>#A.II13N$!)::1+'-&3$23$98$G)71&$@1+?)+N$j1'H1&I-+,?k$c=%N$^]]dN$08$eeRoo8e8$!I1:1+'$9&11+21&7$YArt and CultureN$08$pZ$-?$V*)'1,$23$K>#A.II13$.+$&10&.+'1,$-&'.>I1$.+$Capacity$Y.2.,ZN$08$qe8
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Biography
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Carrie Olson
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(1-&$.?$>)+'-7.)*?$-+,$?1,*>'.A18$#A1&3$,-3$'H1$+1U?$-+,$1+'1&'-.+:1+'$:1,.-$2):2-&,$*?$U.'H$,.?-?'1&?$2)'H$&1-I$-+,$.:-7.+1,8$S5$?H)U?$I.61$Law and Order$-+,$CSI$0&1?1+'$-$+1U$H)&&)&$1A1&3$U1168$c*&$0)I.'.>.-+?$0-+,1&$U.'H$0&):.?1?$')$71'$')*7H$)+$>&.:1$)&$')$0&)'1>'$)*&$2)&,1&?8$%*'H)&$-+,$:1,.>-I$,)>')&$K-&>$/.171I$1X0I-.+?$.+$False Alarm: the Truth about the Epidemic of FearN$`/'-'.?'.>-II3N$'H1$.+,*?'&.-I.P1,$U)&I,$H-?$+1A1&$211+$?-M1&8$j1A1&'H1I1??N$U1$I.A1$.+$M1-&$)M$U)&?'R>-?1$?>1+-&.)?8a^$%?$-$2.)I)7.>-I$M*+>'.)+N$M1-&$0&)'1>'?$*?$M&):$,-+71&N$31'$.+$'),-3_?$0)I.'.>-I$-+,$>*I'*&-I$>I.:-'1$.'$>-+$I1-,$')$,12.I.'-'.+7$-+X.1'3$-+,$H3?'1&.-N$)01+.+7$'H1$,))&$M)&$.+,.A.,*-I?N$>):0-+.1?N$)&7-+.P-'.)+?$-+,$7)A1&+:1+'?$')$?'10$.+$U.'H$.IIR>)+>1.A1,$?)I*'.)+?$)&$>)1&>.A1$:1-?*&1?$)M$-II$?)&'?8$J1$>)+?.?'1+'I3$->'$.+$&1?0)+?1$')$M1-&8$O'$.?$-$0)'1+'$,&*78$ !-&&.1$cI?)+$1X0I)&1?$M1-&$-?$>)::),.'38$D1&$U)&6$.?$,&.A1+$23$'H1$-II*&1$)M$>)+?*:1&$>*I'*&18$%M'1&$-IIN$'H1&1$.?$+)'H.+7$:)&1$I*>&-'.A1$'H-+$?1XN$,1-'H$-+,$M1-&8$/H1$-00I.1?$'H1$>)+A1+'.)+?$)M$&1'-.I$,.?0I-3$-+,$:-&61'.+7$')$
This essay was written as
part of the Young Art
Critics Mentoring Program,
a partnership between
AICA USA (US section of
International Association
of Art Critics) and CUE
Art Foundation, which pairs
emerging writers with
AICA mentors to produce
original essays on a specific
exhibiting artist. Please visit
www.aicausa.org for further
information on AICA USA, or
www.cueartfoundation.org
to learn how to participate
in this program. Any quotes
are from interviews with
the author unless otherwise
specified. No part of this
essay may be reproduced
without prior consent from
the author. Elizabeth Baker
is AICA's Coordinator
for this program for the
second season.
Carrie Olson: Fear as Commodity
By Christopher A. Yates
^8$/.171IN$K-&>N$False Alarm: !e Truth About the Epidemic of Fear, D)2)61+N$j1U$F1&?13b$F)H+$J.I13$r$/)+?N$O+>8N$effpN$08$^p8
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$e8$<-61&N$=1'1&8$`<*?H$cu>.-IN$.+$<))6N$S1II?$)M$=&1??*&1$)+$_fo$5)'1Na$New York TimesN$eff]N$j)A8$efN$eff]8$
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>1-?1I1??I3$?1IMR01&01'*-'.+7$:-&61'0I->1$)M$M1-&N$cI?)+$?1,*>1?$*?$UH.I1$?.:*I'-+1)*?I3$>H-II1+7.+7$*?$')$>-?'$-$>I1-&$131$)+$)*&$0&1?1+'$H.?')&.>-I$:):1+'8
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41$U&.'1&N$CHRISTOPHER A. YATESN$.?$-+$-&'.?'N$1,*>-')&$-+,$M&11I-+>1$-&'$>&.'.>$2-?1,$.+$!)I*:2*?N$cH.)8$D1$1-&+1,$-+$K(%$M&):$/"jC$-'$/')+3$<&))6N$jCb$-+$KE/$M&):$B1+'$/'-'1$"+.A1&?.'3N$cDb$-+,$-$<(%$M&):$'H1$!)I*:2*?$!)II171$)M$%&'$r$@1?.7+8$D.?$U&.'.+7$-001-&?$M&1V*1+'I3$.+$'H1$Columbus Dispatch8$O+$effgN$H1$&1>1.A1,$-+$cH.)$%&'?$!)*+>.I$O+,.A.,*-I$#X>1II1+>1$%U-&,$.+$%&'?$!&.'.>.?:8$%+$%??)>.-'1$=&)M1??)&$-'$'H1$!)I*:2*?$!)II171$)M$%&'$r$@1?.7+N$H1$>*&&1+'I3$'1->H1?$M)*+,-'.)+?$>)*&?1?$-+,$W+1$-&'?$'H1?.?$0)&'M)I.)8$
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27
CUE Art Foundation’s operations and programs are made possible with the generous support of foundations, corporations, government agencies, individuals, and its members.
MAJOR PROGRAM SUPPORT IS PROVIDED BY:
Accademia Charitable Foundation
The Viking Foundation
Agnes Gund
The Pollock-Krasner Foundation
The Greenwall Foundation
The Greenwich Collection Ltd.
Milton and Sally Avery Arts Foundation
Foundation for Contemporary Arts
The Joan Mitchell Foundation
The Andy Warhol Foundation for the Visual Arts
National Endowment for the Arts
New York City Department of Cultural Affairs
New York State Council on the Arts (a State agency)
William Talbot Hillman Foundation
MEDIA SPONSOR:
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28
!)A1&$O:-71k$Marburg respirator display wall v,1'-.Iw$eff]N$/I.0$>-?'$-+,$-I'1&1,$E.:)71?$0)&>1I-.+N$,.7.'-I$0&.+'N$@.:1+?.)+?$A-&.-2I1%II$-&'U)&6$x$!-&&.1$cI?)+$
O/<jk$]sgRfR]goq^eeRfRs
!-'-I)7$,1?.7+k$1I.P-21'H$1II.?=&.+'1,$23$:-&yX$:3I1?$.+>8$$*?.+7$^ffz$U.+,R71+1&-'1,$0)U1&
CUE Art Foundation511 West 25th Street New York, NY 10001212-206-3583 f 212-206-0321cueartfoundation.org
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CUE Art Foundation511 West 25th Street, New York, NY 10001212-206-3583 f 212-206-0321cueartfoundation.org
2009/10