How well do you behave? IN THE FLAT FIELD.
Feb 1 — March 25, 2018

How well do you behave? IN THE FLAT FIELD.


Thursday, Feb. 1, to Sunday, March 25, 2018

Opening Reception: Thursday, Feb. 1, 6 – 8 p.m.

DJ set: Henry Ross, whose sound will move through the indeterminacy and legibility of the season’s materials.

Beeler Gallery at Columbus College of Art & Design presents How well do you behave? IN THE FLAT FIELD., on view Feb. 1 through March 25. This is Season Zero. It brings together printed historical materials from various creative fields. From art and design school exhibition posters to radical literature (Black & Red Books and Detroit Printing Co-Op), from fashion show invitations (Eckhaus Latta) to a philosopher’s notes (Alain Badiou), from a 1970 art tabloid (Culture Hero) to Columbus’ first art book fair. With an ethos of slow programming, these materials will accumulate throughout the season. Things will come and go and stay for different durations.

How can aesthetic, political, and intellectual urgency be conveyed and designed in the present moment? We look at —and look back at — these materials not as artifacts but as media-screens of first encounters. How well do we behave towards materials? How well do materials behave back? What resonances and resistance are there for the here and now? And finally, what responsibilities does a gallery situated in an art and design school have in the present moment?

How well do you behave? IN THE FLAT FIELD. will feature archival work including:

• Micro-histories of art and design schools through their exhibition posters, postcards, and promotional printed matter. Including Portikus, Städelschule (Frankfurt, Germany), Villa Arson (Nice, France. Selected and reflections by Julien Bouillon), ÉCAL (Lausanne, Switzerland. Reflections by Stéphane Kropf), Cranbrook Academy of Art (Bloomfield Hills, Michigan), and California Institute of the Arts (Valencia, California).

  • Black & Red Books and the Detroit Printing Co-Op, featuring the first unauthorized English edition of Guy Debord’s influential 1967 book The Society of the Spectacle. Curated by Danielle Aubert (based on a previous exhibition co-organized with Maia Asshaq at 9338 Campau, Hamtramck in 2016).
  • • A special 1970 issue of the short-lived art tabloid Culture Hero founded by Les Levine, printed in rainbow-plated lithograph, dedicated to The Village Voice dance critic Jill Johnston, featuring writings by James Lee Byars, Teeny Duchamp, Meredith Monk, Yvonne Rainer, Andy Warhol, and more. (From the CCAD Rare Books Collection.)
  • • New York fashion designer duo Eckhaus Latta’s runway invitations from 2013 to 2018, designed by Eric Wrenn.
  • • French philosopher Alain Badiou’s lecture notes on love, which formed the basis for his book In Praise of Love (2012), will be installed in Schema Corridor, leading into and informing the moving image programming of Beeler Gallery’s screening room, including artist Sable Elyse Smith, graphic designer duo Vier5 (of Documenta 14, Athens), artist Les Levine, filmmaker Ephraim Asili, and more.
  • • Architectural maquettes of Beeler Gallery containing free artist-made publications will be replenished throughout the season.
  • Week 1 (from Feb. 1):
  • fierce pussy, Transmission III, 2018
  • Xavier Antin, Offshore Offshore, 2014
  • Week 5 (from Feb 28):
  • Susan Bee and Mira Schor, archive of M/E/A/N/I/N/G, 1986-96
  • Protest posters from Château de Montsoreau celebrating the 500th year anniversary of Martin Luther, by Louise Herve & Chloe Maillet, Antonia Birnbaum, Fabrice Hergott, Antoine Dufeu, A Constructed World, and Art & Language.
  • Yu Ji, Pyrus Communis,2017
  • Week 6 (from March 7):
  • Gina Osterloh, mésange bleues (desire study)
  • Black Pages
  • Turpentine 6


  • Week 7 (from March 13):
  • Amy Sillman, archive of O.G.
  • Pierre Paulin, BOOM BOOM RUN RUN; Notes on the ambiance; The scent of incense; Mais bon, il faut bien continuer à advancer; Dawn at night
  • Virginia Overton / Wade Guyton, Negroni Sbagliato
  • Week 8 (from March 20):
  • Ann Hamilton, O N E E V E R Y O N E, 2017
  • Ann Hamilton, O N E E V E R Y O N E, 2014
  • Ann Hamilton, O N E E V E R Y O N E, 2012
  • Ann Hamilton, habitus, 2016
  • Tyler Coburn & Byron Peters, Resonator, 2016    
  • • In the galleries, artist Laëtitia Badaut Haussmann will envision functional seating spaces for reading and listening, and Chris Domenick and Em Rooney will construct flexible clothing racks.


An Art Book Affair

Saturday, Feb. 24, 12 – 5 p.m.

Sunday, Feb. 25, 12 – 4 p.m.

Beeler Gallery invites the Detroit Art Book Fair, Copenhagen’s art book fair One Thousand Books, Mexico City’s Index Art Book Fair, and other art book publishers for Columbus’ first art book fair. Featuring rare and limited edition art books by local and international independent publishers.

Saturday, Feb. 24, 2 p.m.

An Art Book Affair will feature a conversation with Danielle Aubert, Maia Asshaq, Steve Panton, and Lorraine Perlman, who will speak about the history of Black & Red Books and the Detroit Printing Co-Op and the contemporary art publishing scene in Detroit. Moderated by Daniel Marcus, Lecturer in the Department of History of Art at The Ohio State University.


Our Book to Come (this week, last year)

Six Mondays, Jan. 29, Feb. 12 & 26, March 5, 19 & 26, 7:30 p.m.

An interactive lecture series led by Richard Fletcher, Associate Professor in the Department of Classics at The Ohio State University, based on his blog Minus Plato, exploring the process of reforming the daily posts written last year into thematic chapters of an upcoming book. The first and last lectures will take place during installation and de-installation of Season Zero.

Wager of Word

Tuesday, Feb. 6, 6:30 p.m.

Writer and thinker Jennifer Teets conceives an evening on fictocritique, materialisms and tone, with Michael Van den Abeele (artist and co-founder of Établissement d’en face, Brussels), writer Dodie Bellamy, and Gean Moreno (Curator of Programs, ICA Miami).

Listening To: Pop Resistance

Thursday, Feb. 15, 6:30 p.m.

Robert Loss, Assistant Professor at Columbus College of Art & Design, leads a listening event on Afrofuturism and pop music since 2000, based on his new book Nothing Has Been Done Before (Bloomsbury). In talking about the music of Janelle Monáe, Loss writes “Monáe’s commitment to her cyborg persona not only shows how any performer struggles with the pressure to construct a simplified self, it also makes us ask more questions, questions that might lead to the expansion of what identity means in the first place.”

With special guest: Sharon Udoh of Counterfeit Madison.

Counterfeit Madison is the musical manifestation of Columbus, Ohio residents Sharon Udoh, Adam Hardy, and Seth Daily. Udoh is a versatile artist; her funky yet classical piano-playing and soul and gospel-tinged voice comfortably compliment Hardy’s grungy yet melodic style and Daily’s dynamic and driving rhythms. The great American songwriter John Darnielle of The Mountain Goats says the following of Counterfeit Madison, about their first album, Opened And Shut: “A follower sent me a link to this ridiculously talented songwriter. Try the third tune, “Don’t Cry Wolf,” first, then dig into the rest. Wow, wow. Expect to hear more from Counterfeit Madison, I’d guess.“

Counterfeit Madison recently released their second full-length, Opposable Thumbs, on Anyway Records to warm and exciting reviews in Columbus Alive, 614, Stereogum, MXDWN, and Afropunk in November 2017. The album includes wild and reckless moments resembling demonic deliverances, poignant songwriting, and even tender ballads, seemingly abandoning genre altogether. Their live presentation is no different—it truly is magnetic, raucous, and unforgettable.

Sharon performs next at Ace Of Cups on February 28, 2018, opening for Ezra Furman, and at the same venue on March 19, opening for Half Waif.

Beeler Gallery Visiting Artists & Scholars Lecture Series

Thursday, Feb. 8, 6:30 p.m.

Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka of the New York-based queer women collective fierce pussy (formed with Zoe Leonard in 1991) will speak ahead of the four members’ upcoming seasons at Beeler Gallery at Columbus College of Art & Design in fall 2018 and spring 2019, which will be devoted to the resonances amongst their individual practices and the way in which the abstraction in their works activates perceptual and political agencies. Moderated by Jill Casid, Professor of Visual Studies at the University of Wisconsin-Madison.

Formed in New York City in 1991 through their immersion in AIDS activism during a decade of increasing political mobilization around gay rights, fierce pussy brought lesbian identity and visibility directly into the streets. Low-tech and low budget, the collective responded to the urgency of those years, using readily available resources: old typewriters, found photographs, our own baby pictures, and the printing supplies and equip.m.ent accessible in their day jobs. Originally fierce pussy was composed of a fluid and often shifting cadre of members. Four of the original core members—Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie—continue to work together.

fierce pussy projects included wheat pasting posters on the street, renaming New York City streets after prominent lesbian heroines, re-designing the restroom at the LGBT community center, printing and distributing stickers and t-shirts, a greeting card campaign, a video PSA and more recently, various installations and exhibitions in galleries and museums. fierce pussy had been included in group exhibitions at Greater New York, MoMA PS1, New York (2015), Harvard Carpenter Center for the Visual Arts (2009), and has had a solo project at Printed Matter, New York (2008). Forthcoming in June 2018, they will have a project for Queer Power, a facade installation at the Leslie Lohman Museum, New York. More info on fierce pussy can be found on:

Nancy Brooks Brody has recently been included in group exhibitions in “Trigger: Gender as a Tool and a Weapon,” New Museum, New York (2017-2018), Frac Haute-Normandie, France (2015), Bortolami Gallery, New York (2017), and Greater New York, MoMA PS1, New York (2015). Her first group exhibition was at Club 57, New York, curated by Keith Haring (1980). She has had solo exhibitions at Andrew Kreps Gallery, New York and Galerie Joseph Tang, Paris, curated by Jo-ey Tang.

Joy Episalla has had solo exhibitions and projects at Participant, Inc, New York (2015), International Center of Photography, New York (2016), Mercer Union, Toronto (2000), and her work has recently been included in group exhibition s Greater New York, MoMA PS1 (2015), Bronx Museum of the Arts (2016), Oakville Galleries, Toronto (2013), White Columns (2010), Harvard Carpenter Center for the Visual Arts (2009), and Wexner Center for the Arts (2005)..

Carrie Yamoaka is a 2017 recipient of Anonymous Was a Woman Award. Solo exhibitions include Lucien Terras (2015), Paul Kasmin Gallery (2014), and Debs & Co., NYC (1997, 2002, 2004). She has participated in group exhibitions in Greater New York, MoMA PS1, New York (2015), Wexner Center for the Arts (2005), MassMOCA (2002), Victoria & Albert Museum (1996), and currently Galerie Crèvecoeur, Marseilles (2018).

Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka participated in Dust: the Plates of the Present, curated by Sonel Breslav, Camera Club NY at Baxter Street, NYC (2015) and Galerie Praz-Delavallade, Paris (2017), as part of a project co-organized by Jo-ey Tang and Thomas Fougeirol.

Zoe Leonard’s forthcoming survey exhibitions will take place at The Whitney Museum of American Art, and Museum of Contemporary Art, Los Angeles, both in 2018. Group exhibitions include National Gallery of Art (2018), S.M.A.K, Ghent (2017), La Triennale di Milano (2017), Columbus Museum of Art (2016), The Met Breuer (2016), Punta Della Dogana, Venice (2015), the Whitney Biennial (2014), Musée d’Orsay, Paris (2013), Whitechapel Gallery (2012), and Villa Arson, Nice (2007).

Jill H. Casid is Professor of Visual Studies at the University of Wisconsin-Madison where she founded and served as the first director of the Center for Visual Cultures. A historian, theorist, and practicing artist, her contributions to the transdisciplinary field of visual studies include her monographs Sowing Empire: Landscape and Colonization (Minnesota, 2006) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) and the edited collection Art History in the Wake of the Global Turn (Yale, 2014) co-edited with Aruna D’Souza. She is currently completing the two-book project Form at the Edges of Life.

Friday, Feb. 16, 6:30 p.m.

Beeler Gallery’s new Director of Exhibitions Jo-ey Tang will speak with his predecessors Dr. Natalie Marsh (Director and Chief Curator of the Gund Gallery, Kenyon College), Michael Goodson (Senior Curator, Wexner Center for the Arts) and James Voorhies (Dean of Fine Arts, California College of the Arts), as well as Assistant Director of Exhibitions and former Interim Director of Exhibitions Ian Ruffino about the unique role of galleries within an art school context, the evolution of Beeler Gallery, and what it means to “take over” a space from a predecessor. Moderated by Michael Mercil, artist and professor, Interim Chair, Department of Art, The Ohio State University. Postscript by Merijn van der Heijden, interim director of Ohio State University’s Urban Arts Space, to be published as part of a downloadable bulletin pdf on

Thursday, Feb. 22, 6:30 p.m.

Neil Goldberg, known for his video, photo, and performance work about embodiment, sensing, mortality, and the everyday, will speak at Beeler Gallery following a Feb. 21 performance at Idea Foundry, co-presented by Wexner Center for the Arts and CCAD Graduate Studies.

Goldberg has exhibited at venues including The Museum of Modern Art (permanent collection), The New Museum of Contemporary Art, The Museum of the City of New York, The Kitchen, The Hammer Museum, The Pacific Film Archive, NGBK Kunsthalle Berlin, and El Centro de Cultura Contemporània de Barcelona, among others. His work has been produced with fellowships from the John Simon Guggenheim Foundation, the New York State Council on the Arts, the Lower Manhattan Cultural Council, the Experimental Television Center, Harpo Foundation, CEC ArtsLink, Stillpoint Fund, Yaddo, and the MacDowell Colony. Goldberg teaches at the Yale School of Art and Parsons, was resident faculty at the Skowhegan School of Painting and Sculpture, and have served as a visiting artist at Cooper Union, The School of Visual Arts, New York University, the Rhode Island School of Design, the MIT Media Lab, and UCLA, among others.

Thursday, March 1, 6:30 p.m.

Conceptual artist Les Levine (founder of art tabloid Culture Hero, on view in the galleries) will speak with Sarah Robayo Sheridan (Curator at the Art Museum at the University of Toronto) about his work that spans five decades.

Saturday, March 3, 3:30 p.m.

Dushko Petrovich, artist and co-founder of arts journal Paper Monument, will speak about his art publishing projects and present The Daily Gentrifier East and West Coast Editions, and will lead a discussion of the local situation as a first step in producing a Columbus edition of Flyover Flyer, which will be released at Beeler Gallery later this Spring, along with Philadelphia, Nashville, Detroit, and Chicago editions. The double-sided broadsheet edition of The Daily Gentrifier, that explores the “crafty, organic, and hyper-local” ethical and aesthetic positions of gentrification of the American coasts, was previously launched at the New York Art Book Fair and LA Art Book Fair. Petrovich is Program Director, New Arts Journalism, School of the Art Institute of Chicago.

Tuesday, March 6, 11 a.m. – 12 p.m.

Emily Spivack

A lecture by Emily Spivack, artist, writer, and editor whose work draws from contemporary culture, clothing, history, and our relationship to everyday objects. She is the author of Worn in New York (2017), a contemporary cultural history of New York told through clothing, which is a follow-up to her New York Times bestseller Worn Stories (2014) and (2010), collections of stories about clothing and memory. Spivack created Threaded, the Smithsonian’s only blog about the history of clothing. She made, an online archive of nearly 1,000 step-by-step instructions culled from wikiHow. For more info:

Friday, March 23, 6:30 p.m.

A talk by New York-based artist Sable Elyse Smith, whose practice calls attention to confining structures in society and the often invisible ways in which they shape our minds or direct our bodies, focusing on quotidian violence in the institution of language and the carceral system.

How well do you behave? IN THE FLAT FIELD. is organized by Jo-ey Tang, Beeler Gallery’s new Director of Exhibitions, and Ian Ruffino, Assistant Director of Exhibitions.

Season postscripts by Yin Ho, James Payne

Photo ©2017 Jiahao Peng