Catherine Fairbanks
untitled (from Adobe bookstore performance)
2014
Photographs
16" x 24"

These works were made collaboratively with Laura Boles Faw, and continue the practice of making work by pairing works together. These images derive from a performance work from 2009 in which Laura Boles Faw and I worked spontaneously in the side by side store front windows of Adobe Bookstore in San Francisco. We agreed to make installations from materials we did not reveal to the other person ahead of time.

The instruction we agreed on prior to the performance was that we would each bring 1 suitcase full of material to the bookstore, that we would wear wigs, that we could incorporate any available books from the bookstore, and that we would work for the hour by dividing into 10-minute increments. We switched windows every 10 minutes, thereby building from and reworking the progress of the previous 10 minutes. A timer kept us on pace, and after 60 minutes we exited the windows and the works were done.

From the images taken of the installation and the process of making, these two photographs were printed and serve as windows themselves into the process of that performance and its resulting constructions.

Catherine Fairbanks collaborative work with Laura Boles Faw Sailing as performance work and the photographic and text-based ephemera and publications that arise from the sails
untitled
2009-ongoing
Sailing as performance work and the photographic and text-based ephemera and publications that arise from the sails
unlistable dimensions

Ongoing collaborative work with Laura Boles Faw.

These are images produced from over 12 sails and charted trips in the San Francisco Bay with student groups, exhibitions, research trips, and private charters. On certain trips we would chart a course in the bay in the shapes of prime numbers. Our first of these prime number sails was a trip following the 2, 3.

Images from this sail were published by n/a in Oakland in a collaborative text by Bonanza.

In a research trip in 2012 we circumnavigated the Farallon Islands, which together with the production of a personal audio book of Mount Analogue, became the backbone for an exhibition, Far Along, at the Scrawl kunsthall in San Francisco.

Catherine Fairbanks collaborative work with Laura Boles Faw Framed posters
How Does Sylvette Work?
2015
Framed posters
24" x 36"

This work is a bolted-together set of posters, the top one by Laura Boles Faw, titled 'Towards a Prosthetic Power', the bottom one by me, titled 'How Does Sylvette Work?'. In many of our works together two separately made, solo-authored objects are bolted together, or shown abutted together to create a final work.

Distant to the Person but Close to the Bridge
2010
Site specific sculpture, solo audio work 10:03, each chartered boat trip, round trip roughly 20:00
The work could be accessed throughout a 3 hour period, but the duration of each trip in the boat out to the specified place in the Bay and back to the Ferry building was 20 minutes.

The work as whole was authored in collaboration with Laura Boles Faw, with whom I have made many collaborative works on boats in and around the San Francisco Bay from 2009-current. The bridge and its changing appearance as a sculpture, once you are in the water, under it, and moving around it, was an interest in our work from the beginning.

This work was created for our thesis exhibition from the San Francisco Art Institute, which was held at the Ferry Building on the Bay. People learned about the work through a caller who directed them to a shuttle which took them as a discrete group to a nearby public dock where they could board the boat. The work operated as a site of transformation: people who boarded the boat and experienced the work together would return to the Ferry Building as a group having experienced a durational work outside of the exhibition together.

Once the boat reached a specified position in the water, in relation to the bridge, my solo audio work began to play. The audio work is a description of my relationship to the Golden Gate Bridge, for which my Great Uncle Charles Clarahan, was a major contributing mathemetician and engineer. In the sound work which played on board, we are asked to decide how responsible we are for each other as strangers, and how responsible we are for the actions of our ancestors.

One feature of my long-term collaborative work with Laura Boles Faw has been to make work where solo contributions by one of us is contained within collaborative work. Our collaboration always seeks to open up boundaries of authorship and the boundaries of exhibition-making.

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