Art collection; [Far right] sculpture by Ken Shores, part of “Feather Fetish” seriesImage description: A photo of a shelf covered in various sculptural objects. There is a lamp, several pink and purple bowls, black and white candle holders, a sculpture of a white tank top, and and a large brown feathery object surrounded in plastic. — Art collection; [Far right] sculpture by Ken Shores, part of “Feather Fetish” series
Image description: A photo of a shelf covered in various sculptural objects. There is a lamp, several pink and purple bowls, black and white candle holders, a sculpture of a white tank top, and and a large brown feathery object surrounded in plastic.

APARTMENT SHOW

In spring 2019, Emily Jones and I performed in an art collector’s home, commemorating the first formal debut of his collection, which includes sculpture, ceramics, and wall art. This collaboration emerged from a dialogue between Emily, myself, and our host, wherein we sought to compare and contextualize our personal practices of curation/collection and movement. This happening touched on questions surrounding the commodity fetish, the ways in which value is expressed or exchanged, the act of acquiring art objects as form of prepping.

We asked: How do artworks and practices become representations of their makers/collectors? What are they mirroring back at us?