Rebecca Goldfarb: Implied — installation view, Eli Ridgway Gallery, San Francisco, 2010
Exhibitions/2010/Implied

Implied

Rebecca Goldfarb
Eli Ridgway Gallery, San Francisco · April 3 – May 3, 2010

Eli Ridgway Gallery is pleased to present Rebecca Goldfarb: Implied, the gallery’s first solo exhibition with the San Francisco–based conceptual artist. Implied presents new works in sculpture, installation, and photography that hint at a myriad of concerns relating to human consumption, the environment, and the meaning of everyday objects. In viewing the exhibition, one is presented with a perceptual experience — an opportunity to give further consideration to, in the artist’s own words, “the infinite and in-between space where language, thought, memory, and sense interact as ways to investigate the act of thinking and seeing.”

Goldfarb continues her interest in minimally composed color photographs with a new series in red, yellow, and blue, titled Who’s Afraid of Fuel, Food or Water? The piece extends the conversation between Robert Irwin’s 2006 installation Who’s Afraid of Red Yellow and Blue³ and Barnett Newman’s 1966 painting Who’s Afraid of Red, Yellow and Blue? As Irwin attempted to carry the two-dimensional exploration of primary color into a third dimension, Goldfarb reintroduces materials, concepts, and titles that bring a new language to the equation.

Rebecca Goldfarb received her BA in Art and Environmental Studies from Pitzer College in 1996 and her MFA in New Genres from the San Francisco Art Institute in 2004. She has held a residency at the Kala Art Institute and been recognized as a finalist for awards from Artadia and the James D. Phelan Award.

Works in the exhibitionClick to enlarge
Rebecca Goldfarb — The Death of “You Push the Button, We’ll Do the Rest”
The Death of “You Push the Button, We’ll Do the Rest”
2010 · Archival inkjet · 72 × 12 in · Edition of 2
Rebecca Goldfarb — Who’s Afraid of Fuel, Food and Water?
Who’s Afraid of Fuel, Food and Water?
2010 · Archival inkjet, triptych · 38 × 38 in each · Unique
Rebecca Goldfarb — Polar Bear
Polar Bear
2010 · Digital photograph · 20 × 20 in · Unique
Rebecca Goldfarb — Swept Away (Broom Without Boom)
Swept Away (Broom Without Boom)
2010 · Installation · Variable dimensions
Rebecca Goldfarb — Climb Between Space and Time
Climb Between Space and Time
2010 · Found postcard, pencil, paper · 35 × 26 in
Rebecca Goldfarb — Traveling Through Darkness: Some Sense of the World Turned on When Flaneur and Collector Meet for the Second Time
Traveling Through Darkness: Some Sense of the World Turned on When Flaneur and Collector Meet for the Second Time
2010 · Flashlights, wax, boxes, poplar wood · 90 × 90 in
Rebecca Goldfarb — Traveling Through Darkness (detail)
Traveling Through Darkness (detail)
Rebecca Goldfarb — Traveling Through Darkness (detail)
Traveling Through Darkness (detail)
Rebecca Goldfarb — Traveling Through Darkness (detail)
Traveling Through Darkness (detail)
Rebecca Goldfarb — Traveling Through Darkness (detail)
Traveling Through Darkness (detail)
Rebecca Goldfarb — Post Gulag, Spa: Paul, Isabelle and Friend
Post Gulag, Spa: Paul, Isabelle and Friend
2010 · Postcard, string · 5.5 × 3.5 in
Rebecca Goldfarb — Orientation with Yellow Line
Orientation with Yellow Line
2010 · Found postcard, paper, yellow string · 35 × 26 in
Rebecca Goldfarb — From See to Sea
From See to Sea
2010 · Spray cans, paint · 8 × 3 × 3 in
Rebecca Goldfarb — Bear Ridge
Bear Ridge
2010 · Found postcard, string · 10 × 61 in
Rebecca Goldfarb — Implying More
Implying More
2010 · Found postcard, colored paper · 18 × 18 × 10 in
Rebecca Goldfarb — Bound Together by Allegory
Bound Together by Allegory
2010 · Postcard, string, frame · 7.25 × 9.25 in
Rebecca Goldfarb — The Edge of Vision: Lover’s First Leap
The Edge of Vision: Lover’s First Leap
2010 · Postcard, string, frame · 7.25 × 9.25 in
Installation viewsEli Ridgway Gallery, San Francisco, 2010
Rebecca Goldfarb: Implied — installation view, Eli Ridgway Gallery, San Francisco, 2010 Rebecca Goldfarb: Implied — installation view, Eli Ridgway Gallery, San Francisco, 2010
On the work
“Goldfarb’s formal strategies and titles frequently suggest that ‘materiality’ is not to be understood as simply a self-evident category, but rather a marker of what kind of perceptions we bring to the table.”
James Thomas · Curator