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Taken together, the architecture and the artworks transform the space into a surreal bazaar of curiosities for the adventurous. Recalling the notebooks of William S. Canyon Candy features the debut screening of a minute film of the same title by Mike Anderson, the result of a year-long collaboration between the artist and the band Javelin. Knockdown Center's cathedral-like complex, with its breathtaking expanse, mysterious sub-chambers, surprise annexes, and hidden pockets is a dream environment for site-specific and installation art. For her installation at the Clocktower, Arnardottir uses an existing metal structure in the upstairs gallery as a skeleton for a colorful, organic, and at times beastly installation that engulfs the space, and creates a fantastical landscape which viewers can enter and interact with.
Galleries Alanna thomas
Arnardottir makes sculptures, drawings and installations with various materials, including large amounts of multi-colored synthetic hair, which explore themes of vanity, self-image, beauty and beastly mythology, as well as notions of obsession and fetish. The intimacy of this unique gallery space then heightens the focus and clarity of these spells. All paths lead to a saloon-style theater space featuring the full Canyon Candy film — the ideal cowboy den after a long walk through the canyon, complete with strawbale seating, gingham tablecloths, and sasparilla. Anderson's installation at the Clocktower transports the viewer into the set of the film through a sprawling installation in the Main Gallery.
Canyon Candy Canyon Candy is a site-specific installation and immersive soundscape bringing to life a Western-themed music video collaboration between filmmaker Mike Anderson and the band Javelin.
The Dangerous Book Four Boys In June ofthe Gallwries Gallery presented The Dangerous Book Four Thoamsa gallery-wide multi-disciplinary show by James Franco bringing together a large selection of experimental films, photographs and drawings, and exploring themes of childhood and nostalgia, games and destruction, and the American landscape. The opening was attended by guests, the exhibition was visited by hundreds, and was reviewed in the New York Times, Art in America, the Wall Street Journal, the Daily News, and Esquire, among many others. These are then arranged and photographed.