193 NEW YORK
Visual poems by Jonathan Williams, redesigned by Ethan Fedele
Jonathan Williams: Poems and Polaroids
March 9 - April 14, 2019
Jonathan Williams spent his life finding things: words, images, people, places, and for our immediate purposes, photographs and poems. The Canadian literary critic Hugh Kenner described Jonathan Williams as the “truffle hound of American poetry," undoubtedly for his ability to find and publish the works of lesser-known talents under his Jargon Society imprint. But he also found many of his own poems, in signs and conversation, along the highways of America, and in his own backyard.
Guy Davenport likened Williams' employ of "found language" to the use of "found footage" by avant-garde filmmakers and Buckminster Fuller once called Williams “our Johnny Appleseed.” Williams for his part explained his fascination of such material in simpler terms: “Well, as you know, a lot of my poetry is found and that's, I think, because I think I'm quite a good listener and I'm willing to lay back and listen, and I think it's something do with living in the country… I like to hear things, so if you listen carefully then you do find things. I do it all the time…That's the thing I love about found material, you wake it up, you "make" it into something.”
Beginning in 1984, Jonathan Williams undertook a series of road trips in the company of Guy Mendes and Roger Manley, to document “what tickled us, what moved us, and what (sometimes) appalled us in the Southeastern United States.” The writings and photographs made during and inspired by those trips have just been released in Walks to the Paradise Garden (Institute 193, 2018). While exploring the depths of Southern culture, Williams found inspiration in dozens of signs, maps, and other roadside attractions, many of which became fodder for his visual poems. This exhibition presents those poems, lovingly updated by Ethan Fedele, alongside Williams’ Polaroids which are often concrete evidence of his inspiration. Poems and Polaroids coincides with the release of Walks to the Paradise Garden and an exhibition inspired by the book, on view from March 2 at the High Museum of Art (Atlanta) titled Way Out There: The Art of Southern Backroads.
Jonathan Chamberlain Williams was born in Asheville, North Carolina, on March 8, 1929, the only child of Thomas and Georgette Chamberlain Williams. Williams spent most of his youth in Washington DC and later attended Princeton University but dropped out after his freshman year to independently study painting, etching, photography and book design. In 1951 he went to Black Mountain College and along with David Ruff, founded The Jargon Society with the goal of publishing obscure writers. From 1951 to present, the publisher has created a total of 116 books featuring the works of Robert Rauschenberg, Ralph Eugene Meatyard, Paul Metcalf, Charles Olson, Doris Ullman, and many others.
Jonathan Williams, Erect, n.d., Polaroid photograph
Jonathan Williams, Kentucky Doll Baby (made by Martha Nelson), n.d., Polaroid photograph
Jonathan Williams, Ralph Griffin Sculpture, ca. 1987, Polaroid photograph
Jonathan Williams, Untitled, n.d., Polaroid photograph
Jonathan Williams, Enoch Tanner Sculpture, ca. 1988, Polaroid photograph
Jonathan Williams, Signs for Whynot, ca. 1984, Polaroid photograph
Jonathan Williams, Sign for the Rainbow Club, ca. 1984, Polaroid photograph
John Martin, Untitled, 2018, glazed ceramic, dimensions vary.
John Martin's Toolbox
November 10, 2018 – January 1, 2019
EXTENDED THROUGH JANUARY 20
Reach into John Martin’s toolbox and you won’t find rusty metal wrenches, old hammers, or runaway screws. In their place lies a vast array of chunky ceramic sculptures, styled with dynamic colors and exaggerated shapes. Too large to be operable and too fragile to be functional, Martin’s tools are the primary method of interaction with the objects that fascinate him. Tools are born from the human imagination, dictated by our goals to work faster, build stronger, and reach further. They make us as we make them. Raised on a farm, tools and machinery were part of Martin’s daily life. He wasn’t allowed to—and still doesn’t—use conventional tools, but they are omnipresent in his work. He draws them. He paints them. He sculpts them in wood and shapes them in clay. Despite a lack of first-hand use, Martin acquired a visual vocabulary of tools from years of observation on his family’s farm. Martin’s sculptures invite us to separate the physical tool from our notions of it; what does a tool become when it is no longer practical?
Martin was born in Mississippi in 1963 and spent most of his childhood on his family’s farm in Arkansas. Years later, he moved to Oakland, California to live with his grandmother and aunt, where he began working with Creative Growth in 1987. Martin has always collected watches and keys, and over the past decade built a large collection of found tools. However, his signature images of knives, hammers, and saws go back to his experience as a child on his family’s farm.
Creative Growth is a non-profit art studio that supports artists with developmental disabilities. Their large facility offers resources like a ceramic studio, sewing and quilting equipment, and a range of two-dimensional mediums. Creative Growth also provides a gallery and representation to their artists.
John Martin, Untitled, 2018, glazed ceramic, 19 x 5.75 x 0.75 in.
John Martin, Untitled, 2018, glazed ceramic, 16 x 4.25 x 0.75 in.
John Martin, Untitled, 2018, glazed ceramic, 11.5 x 6.25 x 1 in.
Eddie Owens Martin, Untitled, n.d., watercolor and pen on paper, 14 x 11.25 in.
Eddie Owens Martin
Pasaquoyan in the City: Fashioning a Southern Saint
Curated by Annie Moye and Michael McFalls
September 26 – November 3, 2018
Pasaquoyan in the City: Fashioning a Southern Saint, the inaugural exhibit at Institute 193’s East Village space, (1B), which opens on September 26, 2018, features a mostly never-before-seen collection of works by the late artist Eddie Owens Martin, or St. EOM, as he later called himself. Born in rural Marion County, Georgia, in 1908, Martin hitchhiked his way to New York City’s Greenwich Village at the age of fourteen to pursue a life of adventure, culture, and revelry that he couldn’t enjoy on his family’s farm back in the South. Supporting himself as a hustler, a fortune teller, and a waiter, he absorbed as much of the art world as he could and relished the company of drag queens, drug dealers, and other partiers, who later become the subjects in his drawings.
During an illness in 1935, Martin received his first vision from a futuristic, gender-bending alien who called on him to follow the “true way,” the path of a new religion called Pasaquoyanism. Martin agreed, became the world’s first Pasaquoyan, and began transitioning his identity from Eddie Owens Martin to St. EOM. St. EOM would remain in New York for twelve years, developing his spiritual belief system and honing his craft as a budding artist. Though he never received much recognition for his art in NYC, he continued to exhibit at small street festivals and was even featured in a short piece in the Village Voice in May 1957. By that time, however, the southern saint had had enough of the city and decided to return to his recently deceased mother’s farm outside of Buena Vista, Georgia.
There, he worked as a card reader—“the poor man’s psychiatrist,” he said—for members of the local community and began construction on his magnum opus, the seven-acre art environment he called Pasaquan, to which he would devote the last thirty years of his life. Today, thirty-two years after his death and two years removed from the completion of a major restoration project by the Kohler Foundation, Pasaquan is as vibrant and fascinating as ever. Owned and operated by Columbus State University, the site allows visitors to explore the “pre-Colombian, psychedelic wonderland,” as St. EOM’s biographer, Tom Patterson, once dubbed it, every weekend during the academic year. The drawings and sketchbooks presented in this exhibition were selected from a collection of 1200 drawings found in steamer trunks in an attic at Pasaquan.
These drawings have never been exhibited and were probably never removed from their trunks after Eddie moved back to Georgia from NYC. Many of the sketches recently saw the light of day after they were gifted to the Columbus State University Archives. The drawings selected reflect the time St. EOM spent in New York post-vision and pre-Pasaquan, as he was building his new identity and belief system and advancing his unique artistic style that has become so iconic.
Inspired by the eccentric characters and personalities he met in the city, St. EOM obsessively worked on portraits and fashion designs that often blurred the line between reality and Pasaquoyan fantasy. In these early drawings, one can sense the immediacy of his vision, the urgency of creation, and the depth of his passion. Primarily created between 1935 and 1957, these works reflect a saint-in-progress and an ideology in the making. The exhibit also features a peek into St. EOM’s self-styled and handmade wardrobe, including one of the extraordinary outfits he wore on the grounds of Pasaquan as a fully-fashioned southern saint.
Eddie Owens Martin, Untitled, n.d. watercolor and graphite on paper, 10 x 12.5 in.
Eddie Owens Martin, Untitled, n.d. watercolor and graphite on paper, 14 x 11.25 in.
Eddie Owens Martin, Untitled, n.d. watercolor and pen on paper, 14 x 17 in.
Eddie Owens Martin, Untitled, n.d. watercolor and pen on paper, 14 x 11.25 in.
Opening September 26
On the heels of a major grant from the Andy Warhol Foundation, Kentucky-based nonprofit arts organization Institute 193 will open a collaborative project space called Institute 193 (1B) in New York City’s East Village on September 26, 2018. Located at 292 E. 3rd Street between Avenues C and D, 1B will introduce new and larger audiences to the work of Southern artists. The inaugural exhibition features the work of Eddie Owens Martin aka St. EOM, presented in collaboration with Columbus State University and the Pasaquan Preservation Society.
1B is a multi-year project space that will produce exhibitions in partnership with museums, universities, galleries, and non-profits whose programming features Southern artists. Phillip March Jones, Institute 193’s Curator-at-Large, will oversee the content and execution of those projects. Confirmed exhibition partners include: Atlanta Contemporary Art Center (Atlanta, GA), Creative Growth Art Center (Oakland, CA), Good Weather (Little Rock, AR), Nixon (Mexico City), Tops Gallery (Memphis, TN), and the University of Kentucky Art Museum (Lexington, KY).
Since 2009, Institute 193 has hosted 54 exhibitions, produced 15 publications, released 3 records, and collaborated with hundreds of artists, musicians, and writers on projects that document the cultural production of the modern South. Operating from a 310-square-foot storefront in Lexington, Kentucky, Institute 193’s traveling exhibitions, books, concerts, records, and art fair projects have reached audiences across the globe. Taken together, these efforts illuminate a region that is diverse, steeped in talent, and constantly evolving, despite or perhaps because of its rich and complicated history.
For more information, please contact Phillip March Jones: email@example.com.
Institute 193 (1B) is located at 292 E. 3rd Street (1B), New York, NY 10009.