For each show, Gas commissions an artist to produce a fundraising edition that helps cover the essential costs of exhibition production. Editions are always affordably priced in order to remain accessible.
In conjunction with the exhibition of Common Survival, The Institute of Queer Ecology produced an unarchival print entitled to plant an anxious garden of big dreams.
The print, which is laser-printed onto seed paper, is a digital collage, with the base picture appropriated from the cover of the Fourth National Climate Assessment, published by the U.S. Global Change Research Program in November 2018. Overlaid onto it is a vector drawing based on a swarm of butterflies from Princess Mononoke (1997). Splicing together these images from very different sources, IQECO examines how “nature imagery” is deployed to elicit emotional response, and they play the images against each other here to create a new image that prioritizes silence and stillness, making space for contemplation. The print is unarchival, and should be planted under about an inch of soil and kept moist during germination. The seed paper it is printed on contains Bird’s Eye, Clarkia, Black Eyed Susan, Sweet Alyssum, English Daisy, Catchfly and Snapdragon seeds.
By receiving this art object, you are entering into a contract with it to provide for a small plot of flowers, maintaining the health of the plants, pollinators, yourself and others.
to plant an anxious garden of big dreams
The Institute of Queer Ecology
unarchival digital print on seed paper
8.5 x 11 inches
edition of 100
$10 (+ Shipping and Sales Tax)
The Institute of Queer Ecology (IQECO) is a collaborative organism looking to find and create alternatives. Its aim is to nurture a new environmental paradigm based on the concepts of interconnectivity and inseparability. The solutions to environmental degradation are found on the periphery and IQECO seeks to bring them to the forefront of public consciousness. Guided by queer and feminist theory and decolonial thinking, IQECO works to undo dangerously destructive human-centric hierarchies—or even flip them—to look at the critical importance of things happening invisibly; underground and out of sight. IQECO seeks to democratize the production and reception of artistic research so that marginalized voices are given the space to tell their own stories, and audiences that have been historically excluded from institutions are invited into this one. IQECO passes as an Institute as a means of infiltration: mimicking the academic model to support subversive ideas. IQECO’s mission is to create an expanded understanding of Queer Community that includes nonhuman kin and prioritizes anyone subjugated, regardless of race, class, nationality, ability, income level, sexuality, gender or species. Its programming is interdisciplinary and revolves around migratory exhibitions, workshops + lectures and publications (online and IRL). https://queerecology.org
Limited edition water bottle emblazoned with an intentionally misleading logo stating its contents as “Gasoline” by artists Susanna Battin and Kate Kendall.
The edition is as part of their larger piece Gas-for-Water (2018) that addresses oil’s value through trade through storytelling, performance, and drawing. The project began on a road trip from Lake Mead in Nevada to Los Angeles during California’s extreme drought. It imagines the plight of “meadmaids,” or mermaids whose livelihood is dependent on the lake, formed in 1936 when the Hoover Dam was completed. Set in a dystopian future where gas is plentiful but fresh water is scarce, the meadmaids exchange one for the other as they journey back to the lake and replenish its holdings.
Collapsible Water Bottle
Edition of 100
5″ x 7 1/2″
$10 (+ Shipping and Sales Tax)
Susanna Battin uses video, installation, writing, painting, and social action to produce her research-driven projects, which focus on landscape optics and Romantic-period ethics. She began working with site interventions in 2011 with Window, a project that optically repaired a mountain horizon with a digital billboard. She has since orchestrated spatial interventions in the cities of Pasadena (2013) and Cassano d’Adda, Italy (2013). She has exhibited moving-image and performance work at Tiger Strikes Asteroid, Los Angeles; Pieter Space, Los Angeles; Angel’s Gate Cultural Center, San Pedro, California; Human Resources, Los Angeles; PhotoLA, Los Angeles; the Hammer Museum, Los Angeles; and Cal State Long Beach. Her object-based work has recently been shown at Other Places Art Fair, San Pedro, California, and at Colorado College. In 2018 she was the visiting artist in residence at Turning Point School, Culver City, and Los Feliz Charter School for the Arts, where she led exercises in landscape visualization and storytelling. She is active in the self-organizing groups Mother Ditch, NAVEL, and OOLA. Her solo exhibition Key Observation Point will be on view August 31–September 28 at Los Angeles Contemporary Archive. Battin lives and works in Los Angeles. http://www.susbatt.com/
Looking to the natural world as a less determined space than the human world, Kate Kendall explores time and desire in relation to landscape, history, and politics using sculpture, video, sound, drawings, and installations to challenge the viewer’s perspective on reality. Her work has been exhibited in Los Angeles, CA; Houston, TX; Santa Fe, NM and Cape Town, South Africa. Her most recent project uses sand peels, a geologic tool to record and understand sediment deposits, from Buffalo Bayou in Houston Texas to consider the story of Hurricane Harvey. Kendall holds an MFA from California Institute for the Arts (2015) and a BA from the University of Southern California (2007); she also completed a year at the Michaelis School of Fine Art, University of Cape Town, in 2006. She lives and works in Santa Fe, New Mexico. https://www.katekendall.info
Artist Ian James pivots toward a near future in order to envision how market forces collide with an understanding of well-being. This car air freshener is part of a suite of new commissions for take care, that serve as a mini-campaign obliquely advertising imaginary products. Applying techniques of commercial photography, and channeling the desires imbued in such glossy images, the artist uses depth, surface, and shape to twist each composition’s implicit message of health, spiritual awakening, or renewal. James reveals the malleability of such messages, as well as our own aspirations.
Car Air Freshener (Scent: Sandalwood)
Edition of 100
$10 (+ Shipping and Sales Tax)
Ian James is an artist based in Los Angeles, working primarily in photography. He holds an MFA from California Institute of the Arts. He has participated in exhibitions at the Indianapolis Museum of Contemporary Art; Holiday Forever, Jackson, Wyoming; Self Actualization, Houston; the UNLV Barrick Museum, Las Vegas; and Roberts & Tilton, vacancy, and REDCAT, Los Angeles. He has been an artist in residence at SÍM in Reykjavik, Iceland, and the Wassaic Project in New York state. James is an adjunct assistant professor at Otis College of Art and Design and adjunct faculty at Art Center College of Design and Pasadena City College. ianjamesinternetwebsite.com
Cara Benedetto, Women as Lovers, 2018
Using the same printing techniques as movie posters or advertisements, and structured like a “how to” guide similar to many listicles online, under the header “How to Survive Romantic Love” the poster provides tips for the modern-day lover. Michelle Pfeiffer’s Catwoman, an emblem of gender, sexuality, vengeance, and power, is in the background. The text considers the historical and social construction of “romance” with an understanding of the climactic urges and apocalyptic fantasies tied to the acceleration of culture and production. Referencing the 1975 novel Women as Lovers by Elfriede Jelinek, Benedetto places women squarely at the center of an impossible equation in which no human can survive.
Edition of 50
20″ x 24″
$50 (+ Shipping and Sales Tax)
Cara Benedetto is an artist and writer. She received her MFA from Columbia University in 2009. Her work has been exhibited at Metro Pictures, New York; MOCA Cleveland; and the Museum of Modern Art, Warsaw, Poland. She is represented by Chapter NY, New York, and Night Gallery, Los Angeles. In 2014 Benedetto was a fellow at Akademie Schloss Solitude, Stuttgart, Germany, and a recipient of a Rema Hort Mann Foundation Emerging Artist Grant. She is the author of two romance novels, The Coming of Age (Staatliche Akademie der Bildenden Künste Stuttgart, 2014) and Burning Blue (Badlands Unlimited, 2015) and the editor of Contemporary Print Handbook (Halmos, 2016). Benedetto is an assistant professor in Print Media at Virginia Commonwealth University. carabenedetto.com
Roy Martinez, Fuck tha Patriarchy, 2017
Bumper sticker created by Los Angeles artist Roy Martinez. Put it on your car, skateboard, stroller, etc.
Edition of 100
8″ x 2.40″
$8 (+ Shipping and Sales Tax)
Roy Martinez was born in Chicago, ILL in 1984, raised in Tejas, and currently resides in Los Angeles. First generation Mexican Zacatecanx-American born, queer, genderfuk. Interdisciplinary artist, with disciplines ranging from ceramics, sculpture, screenprinting, and installation work. Concentrating on cultural identity, gender identity, sexuality, femme-ness, oppression within US society via pop culture/representation, and technology in relation to art production/accessibility. They also run an online store that carries different items, ranging from artist produced zines and prints, to their own lyfestyle brand: Lambe Culo. They have received their BFA from CalArts ‘16 and are currently a CalArts MFA ‘18 Candidate. http://www.lambeculo.com/