Atavism for the Future includes artists exploring the cultural and political histories of archetypes and their inherited presence in the ‘art object’ through understandings of the rapidly shifting dynamics between the history of an object and its projected future. Often approaching the signs and symbols of historical pasts, the exhibiting artists examine the moments when an object is denatured, and its significance altered. Here, the definition of an archetype is understood through its simultaneous meanings of ‘prototype’, ‘imitated original’ and ‘recurring motif’.

The exhibition is accompanied by a newly commissioned text, Atavism for the Future by writer, historian and curator, Dr. Patrick Crowley. Crowley is associate curator of European art in the Cantor Arts Center at Stanford University and currently in residence at the Getty Research Institute, LA as part of the Getty Scholars Program 2023-2024.

In conjunction with the exhibition, artist and filmmaker Jeffrey Stuker has organized the film screening event, Horologium Sapientiae, featuring ten films made between 1916 and 2020.



Installation view. Atavism for the Future, 2023.


Installation view. Atavism for the Future, 2023.


Installation view. Atavism for the Future, 2023.


Installation view. Atavism for the Future, 2023.


Joel Otterson, Early Spring, 2023. Silver, bronze, moss agate. 2 1/2 x 3 1/4 in (6.4 x 9.5 cm).


Joel Otterson, Coming Storm, 2023. Silver, bronze, moss agate. 3 1/2 x 3 3/4 in (6.4 x 9.5 cm).


Joel Otterson, Out West, 2023. Silver, bronze, moss agate. 2 1/2 x 3 in (6.3 x 7.6 cm).


Detail. Joel Otterson, Out West, 2023. Silver, bronze, moss agate. 2 1/2 x 3 in (6.3 x 7.6 cm).


Detail. Joel Otterson, Out West, 2023. Silver, bronze, moss agate. 2 1/2 x 3 in (6.3 x 7.6 cm).


Installation view. Atavism for the Future, 2023.


Installation view. Atavism for the Future, 2023.


Jeffrey Stuker, To the Satisfaction of the Botanist, I (Daphnis nerii caterpillar eating Vinca catharanthus leaves, Grand Sud, Madagascar, 1952), 2023. Pigment print, 8-Ply rag museum board, walnut frame 24 x 28 in (outer dimensions), 16 x 20 in (print dimensions). Edition of 2 + 2 AP. 28 1/2 x 24 1/2 in (72.4 x 62.2 cm).


Jeffrey Stuker, To the Satisfaction of the Botanist, II (Daphnis nerii caterpillar eating Vinca catharanthus leaves, Grand Sud, Madagascar, 1952), 2023. Pigment print, 8-Ply rag museum board, walnut frame 24 x 28 in (outer dimensions), 16 x 20 in (print dimensions). Edition of 2 + 2 AP. 28 1/2 x 24 1/2 in (72.4 x 62.2 cm).


Detail. Jeffrey Stuker, To the Satisfaction of the Botanist, II (Daphnis nerii caterpillar eating Vinca catharanthus leaves, Grand Sud, Madagascar, 1952), 2023. Pigment print, 8-Ply rag museum board, walnut frame 24 x 28 in (outer dimensions), 16 x 20 in (print dimensions). Edition of 2 + 2 AP. 28 1/2 x 24 1/2 in (72.4 x 62.2 cm).


Jeffrey Stuker, Vinca catharanthus, (L’Herbier du Muséum, Le Muséum national d’histoire naturelle, Paris), 2023. 24,000 x 20,000 pixel light valve technology film-recordings onto Ilford silver gelatin negative, loupe, walnut and sapphire glass pedestal with built-in illumination designed by the artist. Pedestal: 40 1/4 x 29 1/2 x 19 1/2 in (102 x 75 x 49 cm). Image area: 10 x 8 inches each (25.4 x 20.3 cm).


Jeffrey Stuker, Vinca catharanthus, (L’Herbier du Muséum, Le Muséum national d’histoire naturelle, Paris), 2023. 24,000 x 20,000 pixel light valve technology film-recordings onto Ilford silver gelatin negative, loupe, walnut and sapphire glass pedestal with built-in illumination designed by the artist. Pedestal: 40 1/4 x 29 1/2 x 19 1/2 in (102 x 75 x 49 cm). Image area: 10 x 8 inches each (25.4 x 20.3 cm).


Installation view. Atavism for the Future, 2023.


Lou Lou Sainsbury, one day i will be eaten by my followers, the mouths - yes i’m sure will swallow me, 2023. Wax, spray paint. Dimensions variable.


Lou Lou Sainsbury, die hippie sunbeam’s fever dream - where the caterpillars feed on the blood drops of dead fascists, 2020. Coloring pencil on paper. 10 1/4 x 13 3/4 in (26 x 35 cm).


Lou Lou Sainsbury, spirit cum, a sharp tongue, 2023. Wax, spray paint. Dimensions variable.


Detail. Lou Lou Sainsbury, spirit cum, a sharp tongue, 2023. Wax, spray paint. Dimensions variable.


Coleman Collins, Untitled (Entryway), 2023. Engineered wood, UV print on DIBOND. 31 x 36 in (78.7 x 91.5 cm).


Detail. Coleman Collins, Untitled (Entryway), 2023. Engineered wood, UV print on DIBOND. 31 x 36 in (78.7 x 91.5 cm).


Emi Mizukami, trick, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 9 1/2 x 6 3/4 in (24 x 17 cm).


Emi Mizukami, trick, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 9 1/2 x 6 3/4 in (24 x 17 cm).


Emi Mizukami, trick, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 9 1/2 x 6 3/4 in (24 x 17 cm).


Emi Mizukami, trick, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 9 1/2 x 6 3/4 in (24 x 17 cm).


Mohammed Z. Rahman, False Qibla 1, 2023. Acrylic on wood board. 11 3/4 x 16 1/2 in (29.7 x 42 cm).


Detail. Mohammed Z. Rahman, False Qibla 1, 2023. Acrylic on wood board. 11 3/4 x 16 1/2 in (29.7 x 42 cm).


Installation view. Atavism for the Future, 2023.


Yuri Pattison, dust, scraper, fan .5 (working title), 2015, Custom made perspex box, laptop fan, USB cable, visible practice padlock & key, Formerol, protective film, travel power adapters, USB power supply, dust, sebum. 14 3/4 x 10 1/4 x 1 1/2 in (37.5 x 26 x 4 cm).


Yuri Pattison, dust, scraper, fan .8 (machines who think), 2015. Custom made perspex box, laptop fan, USB cable, BOOK: “Machines Who Think: A Personal Inquiry into the History and Prospects of Artificial Intelligence” by Pamela McCorduck, Formerol, protective film, travel power adapters, security timer, USB power supply, dust, sebum. 14 3/4 x 10 1/4 x 1 1/2 in (37.5 x 26 x 4 cm).


Yuri Pattison, dust, scraper, fan .8 (machines who think), 2015. Custom made perspex box, laptop fan, USB cable, BOOK: “Machines Who Think: A Personal Inquiry into the History and Prospects of Artificial Intelligence” by Pamela McCorduck, Formerol, protective film, travel power adapters, security timer, USB power supply, dust, sebum. 14 3/4 x 10 1/4 x 1 1/2 in (37.5 x 26 x 4 cm).


Detail. Yuri Pattison, dust, scraper, fan .8 (machines who think), 2015. Custom made perspex box, laptop fan, USB cable, BOOK: “Machines Who Think: A Personal Inquiry into the History and Prospects of Artificial Intelligence” by Pamela McCorduck, Formerol, protective film, travel power adapters, security timer, USB power supply, dust, sebum. 14 3/4 x 10 1/4 x 1 1/2 in (37.5 x 26 x 4 cm).


Yuri Pattison, dust, scraper, fan .9 (public key), 2015. Custom made perspex box, laptop fan, USB cable, visible practice lock & key, Formerol, protective film, travel power adapters, USB power supply, dust, sebum. 14 3/4 x 10 1/4 x 1 1/2 in (37.5 x 26 x 4 cm).


Installation view. Atavism for the Future, 2023.


Coleman Collins, Ding an sich, 2023. Inkjet print. 16 x 8 in (40.6 x 20.3 cm). Edition of 3 + 1 AP.


Coleman Collins, Ding an sich, 2023. Inkjet print. 16 x 8 in (40.6 x 20.3 cm). Edition of 3 + 1 AP.


Installation view. Atavism for the Future, 2023.


Tenant of Culture, Works and Days (Series), 2019. Recycled backpacks, thread, plaster, bungee cord, hooks and steel. Dimensions variable.


Tenant of Culture, Works and Days (Series), 2019. Recycled backpacks, thread, plaster, bungee cord, hooks and steel. Dimensions variable.


Detail. Tenant of Culture, Works and Days (Series), 2019. Recycled backpacks, thread, plaster, bungee cord, hooks and steel. Dimensions variable.


Installation view. Atavism for the Future, 2023.


Katie Lyle. Fragment 1, 2022. Pencil crayon, acrylic, canvas, collage and grout on wood panel. 24 x 20 in (61 x 50.8 cm).


Katie Lyle. Fragment 2 (Loose Hands), 2022. Pencil crayon, acrylic, canvas, collage and grout on wood panel. 24 x 20 in (61 x 50.8 cm).


Detail. Katie Lyle. Fragment 2 (Loose Hands), 2022. Pencil crayon, acrylic, canvas, collage and grout on wood panel. 24 x 20 in (61 x 50.8 cm).


Installation view. Atavism for the Future, 2023.


Tenant of Culture, Swing Tag 10, 2023. Recycled labels, clothing tags, textile scrap, thread. 6 1/4 x 3 1/4 in (16 x 8 cm).


Emi Mizukami, As if it were an eternity, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 24 1/4 x 17 in (61.5 x 46.5 cm).


Detail. Emi Mizukami, As if it were an eternity, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 24 1/4 x 17 in (61.5 x 46.5 cm).


Emi Mizukami, As if it were an eternity, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 24 1/4 x 17 in (61.5 x 46.5 cm).


Emi Mizukami, The birds are gone, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 13 3/4 x 10 1/2 in (35 x 27 cm).


Detail. Emi Mizukami, The birds are gone, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 13 3/4 x 10 1/2 in (35 x 27 cm).


Emi Mizukami, The birds are gone, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 13 3/4 x 10 1/2 in (35 x 27 cm).


Detail. Emi Mizukami, The birds are gone, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 13 3/4 x 10 1/2 in (35 x 27 cm).


Emi Mizukami, Dear Sentiment IV, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 18 1/4 x 13 1/2 in (46.5 x 34 cm).


Emi Mizukami, Dear Sentiment IV, 2023. Acrylic paint, charcoal pencil, sand paste, desert sand, linen on panel. 18 1/4 x 13 1/2 in (46.5 x 34 cm).


Installation view. Atavism for the Future, 2023.


Tenant of Culture, Swing Tag 7, 2023. Recycled labels, button, eyelet, thread. 4 x 2 in (10 x 5 cm).


Tenant of Culture, Swing Tag 1, 2023. Recycled labels, recycled button, buckle, thread. 7 1/4 x 2 3/4 in (18 x 7 cm).


Tenant of Culture, Swing Tag 11, 2023. Garment scraps and labels, thread, buckle. 5 1/2 x 2 1/2 in (14 x 6.5 cm).


Detail. Tenant of Culture, Swing Tag 11, 2023. Garment scraps and labels, thread, buckle. 5 1/2 x 2 1/2 in (14 x 6.5 cm).


Emi Mizukami, Drawing for Dear sentiment, 2023. Pencil on paper. 12 x 9 in (30.5 x 23 cm).


Emi Mizukami, Drawing for Dear sentiment, 2023. Pencil on paper. 12 x 9 in (30.5 x 23 cm).


Detail. Emi Mizukami, Drawing for Dear sentiment, 2023. Pencil on paper. 12 x 9 in (30.5 x 23 cm).


Tenant of Culture, Haul (Series), 2023. Plastic bag, garments, thread, ribbon. 11 x 11 1/2 in (28 x 29 cm).


Tenant of Culture, Haul (Series), 2023. Plastic bag, garments, thread, ribbon. 11 x 11 1/2 in (28 x 29 cm).


Installation view. Atavism for the Future, 2023.


Installation view. Atavism for the Future, 2023.


TJ Shin, Trace 1, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, Trace 2, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, Trace 3, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, Trace 4, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, Trace 5, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, Trace 6, 2023. Salted print. 17 x 11 in (43 x 28 cm) each.


TJ Shin, DMZ Wire Fence, edition 50,715/150,625, 2023. Ceramic casts, desk. Desk: 70 x 30 x 29 in (178 x 76.5 x 74 cm). Casts: 7 1/2 x 5 3/4 in (19 x 14.5 cm) each.


Detail. TJ Shin, DMZ Wire Fence, edition 50,715/150,625, 2023. Ceramic casts, desk. Desk: 70 x 30 x 29 in (178 x 76.5 x 74 cm). Casts: 7 1/2 x 5 3/4 in (19 x 14.5 cm) each.

Photos: Evan Walsh