New York

Danica Phelps

LFL Gallery

Danica Phelps is not the first artist to make life’s private activities fodder for art’s public display. From performance to the more recent “relational aesthetics” and particularly throughout the history of feminist art practice, reportage of daily experience emerges as a canonical strategy—what Virginia Woolf called “telling the truth about . . . [one’s] existence as a body.” Since 1995, Phelps has applied this art/life mandate to a meticulous recording of her finances. Using an invented system of notational marks and pencil drawings, she catalogues all purchases and services rendered, including sales of her work. Recently, this archiving of exchanges with the world has expanded to include her own visits to galleries, where she draws and thus “collects” works she wishes she could afford. In fine, Phelps has extended her accounting through literal to fantasized economies, and perhaps it

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