Artist: Pippa Garner
Venue: Redling Fine Art, Los Angeles
Exhibition Title: Tinker Tantrum
Date: April 9 – June 17, 2017
Full gallery of images, press release, video and link available after the jump.
Pippa Garner, excerpt from Onboard Trophy Wife, 2013, video, 4 min 6 sec
Pippa Garner, excerpt from Tinker Tantrum, 2013, video, 3 min 29 sec
Pippa Garner, excerpt from Utopia or Bust, 2013, video, 7 min 33 sec
Images and videos courtesy of Redling Fine Art, Los Angeles
In the 1960’s Pippa (then Phil) Garner was studying as a member of the highly regarded Transportation Design department at Art Center, California with plans to become a car stylist. It was the era of Muscle Cars and automobiles were pushing the limits of absurdity. Vehicles were being designed to appeal to our most basic desires for sex and safety and as such overcompensated with weight and size. Garner replied with a sculpture portraying the inevitable result of this car romance: half-human half-car.
Over the subsequent four decades Garner has pushed back against systems of consumerism, marketing and waste, creating a rich body of work including drawing, performance, sculpture, video and installation. Her uncompromising approach to life and practice has allowed her to interact with the worlds of illustration, editorial, television and art without ever quite becoming beholden to them.
Pippa Garner’s first exhibition at Redling Fine Art will include a suite of early invention drawings as well as Garner’s original art from her monthly editorial page in Car & Driver (1995 – 2010) as well as in the pages of L.A. Magazine. All in pencil, these works show the breadth of Garner’s dry humor and political thinking. Also on view Garner’s 2007 work the “World’s Most Fuel-Efficient Car,” a 1972 Honda 600 retrofitted to be human-powered, and Garner’s “last” sculpture “Crowd Shroud”. Through these sculptures Garner toys with concepts of class and waste, pointing to the invisible labor that makes our culture possible, and more specifically the inefficiency inherent in using 3,000 pounds of metal to move 150 pound bodies. These works point to the invisible labor that makes this possible. Alongside these works is a mandala of handmade t-shirts. These graphic collages are part performance part mode-of-production, as Garner has constructed these works daily for over 10 years. Finally a selection of Garner’s video work dated 2013 is included. In these campy videos Garner portrays both a pre- and post- transition version of herself tackling topics such as procreation, drones, marriage, art, invention and therapy.