From Now On (Anymore)

A sculpture exhibition-book that documents negative space, misinformation, and lost time.

From Now On (Anymore) is a translation of "Bundan Sonra," a folk song by Selda Bağcan. It is also a show of sculptures formatted within that song's lyrical structure. Corresponding to the song's eight promises, the book is broken into eight artist sections, each made of varying materials. Sculptures are featured in spreads that explore vulnerable angles, new environments, and the narratives of their conception, all in a flattened medium.

Presented in July 2015 at Blonde Art Books' Bushwick Art Book and Zine Fair alongside Blind Arch's “The Great Chili Poster (or, As Useful As Mudguards on a Tortoise),” a progression of self-referential nesting objects, and Joie Estrella’s The Penetration Step, a transfer-printed book on metal pages.

Featuring the work of
Maia Ruth Lee
Michael Merck
Libby Rothfeld
Amy Brener
Jo Shane
Jonathan Durham
Aslı Çavuşoğlu
Vanessa Thill

Contents and Introduction

Artist Bios

With preceding texts and contributions by
Claire Heyison
June West
Giovanna Olmos
Claire Mirocha

Maia Ruth Lee’s XM (Exotic Matter), printed on heat-sensitive paper, shows a multi-sided view of a checked bag in a Nepalese airport, with an accompanying alphabet of glyphs forming a deconstructed and codified system after the bag’s intricate rope fastenings.

Left: Giovanna Olmos re-manifests past lost experiences using digital means, supplementing and eventually replacing the concrete.
Right: An English translation of the lyrics to Selda Bağcan's "Bundan Sonra"

Jonathan Durham’s PVC pieces converse with the “word knots” of psychiatrist R. D. Laing, meant to embody the logical sequences of delusions and psychosis. Like the texts, his series of works expose the circulation within human apparatuses, even in states of mental rupture.

Aslı Çavuşoğlu excerpts her ongoing work on the origins of national histories and archaeological “truths” with speculative diagrams of reconstructed ancient figures.

Libby Rothfeld’s American Pharoah situates itself valiantly as a forlorn totem in a heavily surveilled clearing. I

Amy Brener displays a clothesline with digital counterparts to her sculptures of draped resin and electronic pieces.

Michael Merck presents Limited Time Only, a series of plaster casts of special-edition fast foods and their ensuing (un)natural disintegration.

Jo Shane translates her recent works into flattened and collaged documents, layering and doubling sculptures that are themselves montages.

Chapter break markers by Derick Wycherly