new-york

Mary Ellen Carroll

Third Streaming

Art for Mary Ellen Carroll emerges not from objects but from a diffuse constellation of ideas, something slowly developed through stream-of-consciousness thinking. Since 1988, she has been organizing her sprawling, heterogeneous output with index cards in a library card catalogue, with each piece classified according to headings that range from “disappearance” to “temporality,” from “place” to “pleasure.” A recently published monograph takes these very subjects as chapter headings; the part dedicated to “temporality,” for example, includes Late, 2005, a not well-known enough project for which the artist smashed a 1985 Buick Riviera, inherited from her recently deceased father, into the front of Staatliches Museum für Völkerkunde München. The final chapter, on “thingness,” comprises the book’s index, offering a cross section of interests that buttress Carroll’s motley works. Under N one

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