Edited with text by Steven Matijcio. Text by Nico Israel, Sara Reisman.
A Place for Infinite Tuning surveys the work of British-born, Brooklyn based artist Jane Benson’s acute, yet lyrical practice, forging a trajectory through the past decade as she splits, fractures, and skews archetypal structures into poignant re-assemblies. With a delicate approach to dismantling and rebuilding, Benson has conducted a systematic campaign of deconstruction since the inception of her career. Her ongoing series The Splits (2011- the present), features a number of string instruments severed in half only to be brought back together in a more exploratory and collaborative manner by way of performers' interactions with the objects in various locations. Displaying work from the past fifteen years, ranging from installations, video, drawing, sculpture, and performances—this is Benson’s first major monograph, published on the occasion of her 2017 survey exhibition at the Contemporary Arts Center in Cincinnati.
PRAISE AND REVIEWS
Artforum
Laura Hoffman
Cutting, splitting, and reassembling, be it fake plants, national flags, musical instruments, or W.G. Sebald’s Rings of Saturn, Jane Benson engages with the experience of displacement, and a sense of loss and longing.
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FORMAT: Pbk, 9.5 x 11 in. / 144 pgs / 131 color. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $49.95 ISBN: 9788857238647 PUBLISHER: Skira AVAILABLE: 4/23/2019 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA
Published by Skira. Edited with text by Steven Matijcio. Text by Nico Israel, Sara Reisman.
A Place for Infinite Tuning surveys the work of British-born, Brooklyn based artist Jane Benson’s acute, yet lyrical practice, forging a trajectory through the past decade as she splits, fractures, and skews archetypal structures into poignant re-assemblies. With a delicate approach to dismantling and rebuilding, Benson has conducted a systematic campaign of deconstruction since the inception of her career. Her ongoing series The Splits (2011- the present), features a number of string instruments severed in half only to be brought back together in a more exploratory and collaborative manner by way of performers' interactions with the objects in various locations. Displaying work from the past fifteen years, ranging from installations, video, drawing, sculpture, and performances—this is Benson’s first major monograph, published on the occasion of her 2017 survey exhibition at the Contemporary Arts Center in Cincinnati.
