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GALLERY GUIDESUE JOHNSONHOM E OF FU T U R E TH I NG SS eptemb er 16 – Novemb er 11 , 2 0 1 6The Martha and Robert Fogelman Galleries of Contemporary Art

SUE JOHNSONHOM E OF FU T U R E TH I NG SFeaturing works by the artist Sue JohnsonThe almost ascetic simplicity of these works(b. 1957, San Francisco, CA), this exhibitioncontrasts with the visual overload of Johnson’sconsiders the cyclical nature of massReady-MadeDreamvinylancomprisedscale works on paper as well as floor-to-ceilingdifferent rooms of a mid-century home thatvinyl panels and decals that transform thewrap the perimeter of the gallery. Johnsongallery into the interior of an ideal, moderncreates these scenes by digitally collaginghome. As the exhibition title suggests, Johnsonimagesenvisions a world in which the home is nostalgicmagazines with elements she paints by hand.and familiar, yet also reduced to an empty spaceHer flattening of these distinctions createssimply existing to house various things.a trompe-l’oeil effect in which the viewer isobjectspanelsinstallationconsumption. Included are Johnson’s cked into thinking what she is viewing is realJohnson’s work makes various art historicaland three-dimensional. Referencing Marcelallusions, ranging from ancient Greek mosaicsDuchamp’s readymades, Johnson presentsand 17 -century Dutch still-life paintings toa larger-than-life, prefabricated version of theDada and Pop collages. Despite spanning a vast“American Dream” built on the insatiable desireexpanse of time and place, these referencesto consume. As one approaches the panels,share a common fascination with commoditiesthe seemingly real objects and rooms begin toand excess that Johnson remixes through a 21 -dissolve with varying degrees of pixelation. Thecentury lens. Specifically, her work is rooted ininclusion of actual objects in the installationthe Dutch still-life tradition of vanitas—imagessuch as an avocado-green telephone and adisplaying symbolic objects that encouragepaint-by-numbers painting next to ostensiblythe viewer to consider the transience of life.real “flooring” and “rug” decals that the artistHer process intentionally blurs the boundariescreated for the exhibition further confuses thebetween the real and imagined, historical anddistinction between reality and illusion.thsttimeless, hand-painted and digital. What resultsis an immersive environment constantly toyingWhile the bulk of Johnson’s imagery referenceswith our perceptions.the booming consumer culture of the postWWII period, the exhibition itself serves as aThe exhibition opens with works on papercontemporary vanitas—an all-encompassingfrom Johnson’s series Designs for ImaginarytableauShelves (2011-13). Unlike the shelves depictedobsession with material objects. The artist clipselsewhere in the exhibition, these are distinct inimages from vintage magazines dense withtheir emptiness, as well as their fanciful designs.advertisements selling the various productsInspired by a Chinese-style, red lacquer circulardeemed essential for creating the ideal Americanshelf owned by Johnson’s Swedish grandfatherhome. In this process, Johnson has amassed anand given to her as a child, these imaginaryextensive collection of material purchased fromshelves are designs for building a modernwebsites such as eBay, thereby giving new life tocabinet of curiosities waiting to be filled.old commerce.thatcontemplatesourcontinuedPatricia Lee DaigleDirector, The Martha and Robert FogelmanGalleries of Contemporary Art

DESIGNS FOR IMAGINARY SHELVES (2011-13)Sojourn in Venice (Yellow),2012Watercolor and pencil on paper9 x 12 in.Entertainment CabinetNo. 2 (Let’s Make A Deal),2013Sojourn in Venice (after AnthonyCaro at Peggy GuggenheimCollection), 2012-13Gouache and pencil on paper20 x 16 in.Watercolor and pencil on paper9 x 12 in.OBJECTSAnonymous, American Heritage 3D2,mid-20th centuryAvocado wall-mounted telephonewith extra long cord, ca. 1970sPaint-by-numbers still-life painting 16 x 12 in.Collection of the artistDimensions variableCollection of the artistDECALSUnswept Floor, 2016Shag Lawn, 2016Construction Zone, 2016Vinyl floor decal 36 x 60 in.Vinyl floor decal 48 in. diameterVinyl floor decal 48 x 48 in.

Selections from READY-MADE DREAM, 2013Here and There RoomDivider1: Just What is it thatMakes Yesterday’s Homesso Similar, so Appealing? 2,2013Print on vinyl 115 x 75 in.123456The new shape of a lemonThe shape of processed cheese foodThe shape of mayonnaiseThe shape of ketchupThe shape of something valuableThe shape of something ideal1 Here and There Room Divider openly recreates the look of mass-produced plastic dollhouse furniture manufactured by Louis Marx andCompany. Marx furniture was cast in a single color, and featured details of everyday objects as if placed on surfaces in a real house.2 Title is an allusion to the now iconic 1956 collage by British pop artist, Richard Hamilton, Just what is it that makes today’s homes so different,so appealing?Mod-style Hearth, 2013Print on vinyl 115 x 184 in.12345671234Generic abstract sculptureShadow of generic abstract sculptureOverturned striped bag of popcornTransformation of trees into logs, side view1Transformation of trees into logs, end view2Mid-century modern gravel art, marketedas the “Provincial” still lifeMid-century modern gravel art, marketedas the “Colonial” still life89101112Blue-and-white Chinese bowlNautilus shellRooster3Reproduction of a watercolor reproductionby Sue Johnson of Wave (1943-44) byBritish sculptor, Barbara HepworthOverall room “look” based on historicalsources4For information on this subject, see Forest and Lumber by Neil Jenney, painted in 1969.See footnote above.Marx produced what is called the “Rooster Ranch House” with lift-off roof that featured a rooster silhouette on the outside chimney.For more room design ideas like this one see the Marx New Split Level Dollhouse #4861, and Better Homes & Gardens Decorating Books(Des Moines: Meredith Publishing Company, 1956) pages 16 and 208.

Picture Window Looking West, 2013Print on vinyl 115 x 115 in.12Substantially enlarged reproduction of Broken Windmill (Anonymous, completed paint-by-numberspainting, 18 colors, Craftint, 1956). Provenance: eBayWood paneling as subjectEarly Sunday Morning in the Kitchen1, 2013Print on vinyl 115 x 376 in.15123456Reproduction of a reproduction of aGeorge Nelson-style ball clockReproduction of a reproduction of anAunt Jemima clockThose that, at a distance, resemblecollectible cookie jars (from an oldauction catalog)2Streamlined (mixer, there’s another in thewarehouse for when this one doesn’twork anymore)Cleanliness (spray disinfectant andcovered trash can)Abundance (refrigerator, fully-stocked)789101112131415Space-Age (built-in see-thru double ovenwith control panel)Convenience (electric can-opener)More Abundance (stack of pancakeswith syrup)Appealing New Gadget (electric skillet)Pre-Modern Way (washing dishes by hand)Hygienic Modern Labor-Saver (dishwasher)Economical Efficiency (meal-sealingtype device)3Cheerful Color (turquoise stove andoven combo)“Souvenir” wallpaper pattern41 Title intended as a reference to Edward Hopper’s painting from 1930, Early Sunday Morning.2 An oblique reference to the 1942 essay by Jorge Luis Borges, “The Analytical Language of John Wilkins” in which is described a certainficticious Chinese encyclopedia, The Celestial Emporium of Benevolent Knowledge.3 Reference to Sue Johnson’s previous archival project, The New Ark Preservation Project, in which cultural objects are sealed in Food Saver brandsealing bags. The project’s collection categories include: 1) animals wearing clothes, 2) things that look like other things, and 3) fake food items.4 Also available as wrapping paper.

Land of Plenty, 2013Print on vinyl 115 x 187 in.123456Time-keeping mutant catMetal TV tray showcasing Coca-Colaproducts, circa 1962Salt & pepper shaker in the shape of awood grain TV setSmiling Pancakes (friend of SmilingCoffee Pot)Hamburger being helped by macaroniSalisbury Steak dinner7891011121314Big steakFancy gelatinSoup & sandwich comboMeatloaf slathered in ketchupAtomic-style vesselHalf-sandwich with baconNo-brand ketchup“Mod-Automat” wallpaper patternThe Forest Room, 2013(Right Wall)Print on vinyl 115 x 162 in.12345678Not a pipe1Not a matchbox or a carPaper knowledgeUncle Sam look-alikePortrait of the artist with family,circa mid-1960s2Miniature tractorFlat version of a treePortal for the Western Wonderland, theview of which looks remarkably similar to aDel Monte advertisement about so-called91011121314“Round-Up time” during which consumerssend in product labels in exchange forvaluable product coupons.Pair of ceramic squirrelsFlat version of a flying duckTwo grounded planesAvian-type NarcissusOver-sized dream carSection of 8-track tapes that offeredconvenience plus portability (popular foruse in automobiles)1 An acknowledgment of the importance of Belgian artist, Rene Magritte and his 1928-29 oil on canvas painting, La trahison des images (English:The Treachery of Images) that consists of a painted pipe under which the artist wrote “Ceci n’est pas une pipe” (English: This is not a pipe.)2 Self-explanatory. Though, we can add this picture was taken in Harding, New Jersey, where the family lived in a split-level house. Over themantle is a black-and-white painting of Monterey, California, which was a favorite family painting since they had just recently relocated fromCalifornia to New Jersey.

The Forest Room, 2013(Left Wall)Print on vinyl 115 x 115 in.1234Wooden sign of the American DreamDecorative wooden tennis racketsModern dartboard1Wooden red spring horse567Wooden duck decoyNon-wooden kayak, hangingWooden paneling, diagonally installed1 Early games of darts entailed throwing arrows at slices of a tree which had concentric rings already built into their design, or at the bottomsof wooden barrels.Room with a View of Infinity, 2013Print on vinyl 115 x 115 in.1234Reproduction of a watercolor painting by Sue Johnson that reproduces Endless Column byConstantin Brancusi (1876-1957) from 1918.Luxurious deep-pile carpetBlack-and-white picture of an Eames-era lounge chair and footrestRepeat motif (cross sections of two types of wood found in an out-of-date encyclopedia) usedto create the wallpaper pattern, “Woody.”

All rights reserved for all countries. Sue Johnson (2016).Artwork, text, and drawings by Sue Johnson unless otherwise noted; All works in the exhibition courtesy of the artist.For more information about works by Sue Johnson, please visit www.suejohnson1.comDesigner: Gabby WindhamA Tennessee Board of Regents Institution. An Equal Opportunity/Affirmative Action University.

Watercolor and pencil on paper 9 x 12 in. Entertainment Cabinet No. 2 (Let's Make A Deal), 2013 Gouache and pencil on paper 20 x 16 in. DESIGNS FOR IMAGINARY SHELVES (2011-13) OBJECTS DECALS Anonymous, American Heritage 3D2, mid-20th century Paint-by-numbers still-life painting 16 x 12 in. Collection of the artist Avocado wall-mounted telephone