Contemporary Art Quarterly

Essex Street
September 7 – October 26, 2014
UV inkjet print on aluminum
12 x 18 inches

Possibilities of Scotland separating from England (with what meaning?) leave the Union Jack out of date. Maintain the general form, but draw on deeper reserves of history and meaning: the Isle of Man as a center, especially of ocean industry; the area of Hadrian's Wall, farthest limit of the Roman Empire, as an ancestral divide between Rome and the savage; England dominant, as the main cross, in line with Nelson's signal at Trafalgar: "England expects every man to do his duty." The duty is to control and dominate in the "waves": blue. Now, emerging ocean industries, as described in New Scientist in July, become an all-British aim, in a new union. (We could begin flying such a flag at the University of Aberdeen, Scotland, in a cooperation with a native of Glasgow, where we discuss a deal called TEST WORKS for scientific and engineering testing of the designs in well-known 20th-century artworks, such as Spiral Jetty, Lightning Field, Dry Wells, Feather Ridge.)
Image courtesy of Essex Street, New York
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We would especially like to thank Peter Fend for generously agreeing to participate in this project.  

Thank you to Essex Street, New York for their help acquiring hard to find texts and images of Fend's exhibitions. Daniel Herleth of Oracle, Berlin also helped provide crucial digital versions of old slides. Thanks also to Barbara and Howard Morse for a substantial collection of scans of writings, exhibition texts, and ephemera.