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Dashiell Manley: Tule Lake

Dashiell Manley: Tule Lake

July 25-September 7, 2024

Jessica Silverman is pleased to announce Dashiell Manley’s “Tule Lake,” the debut of a new series investigating historical archives and political memory, on view from July 25 to September 7, 2024. The exhibition features several new oil paintings and a slide-projection that examines photographic propaganda taken during the imprisonment of Japanese Americans during World War II. Using imagery sourced from the National Archives’ repository of photographs, Manley reflects upon the site of Tule Lake, an internment camp on the California-Oregon border where members of his family were held.

INSTALLATION VIEW
SELECTED WORKS
ARTIST BIO
OTHER EXHIBITIONS

INSTALLATION VIEW

Installation View Installation View Installation View Installation View Installation View

SELECTED WORKS

Dashiell Manley
new developments, 2024
Oil on linen
36 x 48 inches / 91.4 x 121.9 cm
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Dashiell Manley, new developments
Dashiell Manley
castle rock in the background, 2024
Oil on linen
36 x 48 inches / 91.4 x 121.9 cm
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Dashiell Manley, castle rock in the background
Dashiell Manley
the fish bite at night, 2024
Oil on linen
36 x 48 inches / 91.4 x 121.9 cm
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Dashiell Manley, the fish bite at night
Dashiell Manley
full water view, recreation possible, 2024
Oil on linen
36 x 48 inches / 91.4 x 121.9 cm
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Dashiell Manley, full water view, recreation possible
In this body of work, twelve paintings represent the positive and negative counterparts of six photographs. In the fish bite at night (2024), and its chromatic inverse, full water view, recreation possible (2024), a blown-out dot-matrix obscures the natural landscape of Tule Lake. When seen from a distance, binaries of dots converge to become recognizable. The composition acts as a metaphor for the distorting properties of time—how propaganda, for example, consumes and replaces generational memory and personal records.
Dashiell Manley
a negative view of flowers, 2024
Oil on linen
60 x 48 inches / 152.4 x 121.9 cm
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Dashiell Manley, a negative view of flowers
Dashiell Manley
twice removed from celebration, 2024
Oil on linen
60 x 48 inches / 152.4 x 121.9 cm
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Dashiell Manley, twice removed from celebration
Dashiell Manley
some efforts up close, 2023-2024
Oil on linen
48 x 36 inches / 121.9 x 91.4 cm
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Dashiell Manley, some efforts up close
Dashiell Manley
negative world views, 2023-2024
Oil on linen
48 x 36 inches / 121.9 x 91.4 cm
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Dashiell Manley, negative world views
At four by five feet, once removed from celebration (2024) is one of the largest works in the exhibition and uses found imagery of a child detainee. She is dressed as a flower and smiling. Composed of black and yellow dots, Manley conjures the tension between the subject’s expression and environment, using halftone abstraction as a form of guardianship or protection against unreliable depictions. Moments of wide, energetic brushwork intentionally disrupt the figure-ground relationship in each work. These interludes challenge a mechanized view of human experience while also providing delicate moments of reprieve.
Dashiell Manley
once removed from celebration, 2024
Oil on linen
60 x 48 inches / 152.4 x 121.9 cm
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Dashiell Manley, once removed from celebration
Dashiell Manley
an instance of happiness, 2024
Oil on linen
60 x 48 inches / 152.4 x 121.9 cm
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Dashiell Manley, an instance of happiness
Dashiell Manley
in clouds, with whispers. Stillness., 2024
Oil on linen
48 x 36 inches / 121.9 x 91.4 cm
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Dashiell Manley, in clouds, with whispers. Stillness.
Dashiell Manley
watching for birds, waiting for beauty, 2024
Oil on linen
48 x 36 inches / 121.9 x 91.4 cm
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Dashiell Manley, watching for birds, waiting for beauty
In Manley’s two-channel slide-projection work, pleasant countries (Tule Lake), a desynchronized sequencing of National Archives photographic negatives, his own photographs of cherry blossom trees, and solid blocks of color. The work recalls the artist’s past videos and interest in structuralist film, where he would often alter sequences of frames to unsettle the cinematic ground.

ARTIST BIO

Dashiell Manley (b.1983, Fontana, CA) has a BFA from CalArts and an MFA from UCLA. He has recently enjoyed solo exhibitions at SOCO Gallery, Jessica Silverman, Marianne Boesky, Stanford’s Cantor Center for Visual Arts and LAND HQ in Los Angeles. His work was included in group exhibitions Hammer Museum’s 2012 “Made in L.A.” and the 2014 Whitney Biennial, and elsewhere in Sao Paulo, Sydney, Torino, Vienna, Austin, and New York. His work is in the public collections of Los Angeles County Museum of Art, Museum of Contemporary Art, and The Hammer Museum, Los Angeles. In 2016, Jessica Silverman published a catalogue featuring Manley’s “New York Times Paintings.” Jessica Silverman also exhibited Manley’s work at ADAA 2020 in dialogue with the minimalist work of Jiro Takamatsu, one of the most influential Japanese artists of 20th century. He is represented by Marianne Boesky Gallery, Los Angeles and Jessica Silverman, San Francisco. He lives and works in Los Angeles, CA.

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