{"id":546,"date":"2016-11-10T04:42:03","date_gmt":"2016-11-10T04:42:03","guid":{"rendered":"http:\/\/www.lilycoxrichard.com\/?p=546"},"modified":"2025-12-17T19:48:05","modified_gmt":"2025-12-17T19:48:05","slug":"salv","status":"publish","type":"post","link":"https:\/\/www.lilycoxrichard.com\/staging\/2569\/salv\/","title":{"rendered":"Salv., 2016"},"content":{"rendered":"

[vc_row unlock_row=”” row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”5″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ content_parallax=”0″ uncode_shortcode_id=”132228″][vc_column width=”1\/2″][vc_gallery el_id=”gallery-141908″ isotope_mode=”vertical” medias=”564,561,560,559,558,557,556,555,554,553,552,551,550,549,548,547″ gutter_size=”3″ media_items=”media|lightbox|original,caption” screen_lg=”” screen_md=”” screen_sm=”” single_width=”12″ single_overlay_opacity=”50″ single_image_anim=”no” single_h_align=”center” single_padding=”2″ single_title_family=”font-394499″ single_title_dimension=”h3″ single_meta_custom_typo=”yes” single_meta_size=”large” lbox_caption=”yes” lbox_no_tmb=”yes” uncode_shortcode_id=”161178″][\/vc_column][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”112296″][vc_custom_heading text_font=”font-394499″ uncode_shortcode_id=”186915″]Salv.[\/vc_custom_heading][vc_column_text text_lead=”yes” text_color=”color-jevc” uncode_shortcode_id=”451503″ text_color_type=”uncode-palette”]2016
\nArtpace<\/a> (San Antonio, TX)
\n<\/span>[\/vc_column_text][vc_empty_space empty_h=”2″][vc_custom_heading heading_semantic=”h4″ text_font=”font-394499″ text_size=”h4″ uncode_shortcode_id=”187798″]Related Materials:<\/span>[\/vc_custom_heading][vc_column_text text_color=”color-jevc” uncode_shortcode_id=”960266″ text_color_type=”uncode-palette”]<\/p>\n

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Gallery Notes, PDF<\/a>
\nEssay: And the Load Doesn’t Weigh M\u0435 Down at All<\/em> by Denise Markonish<\/a>
\nReview: Laura Wellen, Texas Arts & Culture<\/a><\/p>\n<\/blockquote>\n

[\/vc_column_text][vc_custom_heading heading_semantic=”h4″ text_font=”font-394499″ text_size=”h4″ uncode_shortcode_id=”108911″]Notes:<\/span>[\/vc_custom_heading][vc_column_text text_color=”color-jevc” uncode_shortcode_id=”169860″ text_color_type=”uncode-palette”]<\/p>\n

I started thinking about scrap copper a few years ago, drawn to the ways this infinitely recyclable material wears the patina and form of its most recent incarnation. In preparation for my Artpace residency, I spent this past summer as artist-in-residence at RAIR\/Revolution Recovery, a three-acre site in Philadelphia where 400 tons of material are processed and mostly diverted from landfills on a daily basis. I paid attention to trash as it moved through this system, and watched as materials were sorted, shredded, and hydraulically compacted to fit into smaller footprints.<\/p>\n

This year, I made several visits to West Texas, where space isn\u2019t at such a premium. I\u2019ve been wondering about how the contours of landscape\u2014its density or use\u2014affects our relationship to natural resources, labor, and time. The possibility for certain goods to be indexed to a commodities market makes determining the value of things like life, labor, and love feel all the more impossible. In addition to the physical space and support (a ground floor studio with a roll-up door, gantry crane, and Riley Robinson were all key in making this work), I am grateful for the time alongside residents Kim Faler<\/a> and Kim Morgan<\/a>, and our conversations with curator Denise Markonish. During this fall\u2019s hot mix of queasy politics, I felt solidarity in crafting meaning with remnants\u2014dirt, rubble, bodily fluids\u2014and claiming space for the details and scraps.<\/p>\n

-LCR, Nov 1, 2016<\/p><\/blockquote>\n

[\/vc_column_text][vc_custom_heading heading_semantic=”h4″ text_size=”h4″ uncode_shortcode_id=”487413″]List of Works:<\/span>[\/vc_custom_heading][vc_column_text text_color=”color-jevc” uncode_shortcode_id=”227436″ text_color_type=”uncode-palette”]<\/p>\n

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Old Copper Futures:\u00a01200 lbs. of #2 scrap copper from Monterrey Iron & Metal, San Antonio, TX<\/em><\/strong>, 2016 (copper, steel, yoga mats, 48 x 22 x 26 inches)<\/p>\n

Old Copper Futures:\u00a0977 lbs. of #2 scrap copper from Sullivan\u2019s Scrap Metal, Hatboro, PA<\/em><\/strong>, 2016 (copper, concrete, silicone, 32 x 35 x 22 inches)<\/p>\n

Old Copper Futures:\u00a0951 lbs. of #2 scrap copper from Revolution Recovery, New Castle, DE<\/strong><\/em>, 2016 (copper, concrete, blanket, 42 x 26 x 39 inches)<\/p>\n

Thunder Egg<\/em><\/strong>, 2016 (gypsum cement, concrete, trashcan, acrylic, 30 x 60 x 56 inches)<\/p>\n

Hot Mix<\/em><\/strong>, 2016 (gypsum cement, aluminum slag, 12 x 30 x 20 inches)<\/p>\n

Asphalt Manifest: Evidence<\/strong><\/em>, 2016 (photopolymer gravure (asphaltum on rag paper) edition of 7, classification folder, 15 x 20.5 inches)<\/p>\n

Asphalt Manifest: Landscape<\/strong><\/em>, 2016 (photograph on aluminum, 19 x 30 inches)<\/p>\n

He\u2019s not heavy, he\u2019s my sister<\/strong><\/em>, 2016 (video and driver\u2019s side truck mirror, 24 x 18 x 10 inches)<\/p>\n<\/blockquote>\n

[\/vc_column_text][vc_custom_heading heading_semantic=”h4″ text_font=”font-394499″ text_size=”h4″ uncode_shortcode_id=”895119″]Credits:<\/span>[\/vc_custom_heading][vc_column_text text_color=”color-jevc” uncode_shortcode_id=”365449″ text_color_type=”uncode-palette”]<\/p>\n

Photography by<\/p><\/blockquote>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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