1. I met Trisha during my first stint as visiting
critic at the Yale School of Art, and Trisha and her work have been
making me jump — physically and mentally — ever since.
I was lucky enough to curate my first show which included Trisha's
jumping rock star video, along with other works by her rowdy intellectual
2. Trisha questions the necessity and viability of making art —
perhaps of making anything — but this pull and examination
of materiality is countered, Dr. Doolittle's Push Me-Pull You-style,
by her being, at heart, deeply romantic — in love with the
world, light, people, dopey stuff and the
stupid memories and thoughts of those things that make it all worthwhile,
a love which compels her to document and/or mark them to have their
ephemeral gorgeousness and sadness repeated. Remember her teaching
how to groom a horse by grooming a projected slide of a magnificent
steed — how funny, how melancholy, how apt.
3. Trisha values the various media she deploys enough not to confuse
them. When she refuses to have her performances documented, she
is recalling the power which is particular to ‘performance.’
She conjures magic back and encourages the spectator to be a witness.
— Bruce Hainley
Selected solo exhibitions: 2002: Casey Kaplan,
New York; Air de Paris, Paris.
Selected group exhibitions: 2002: Hello, My Name
Is..., Carnegie Museum of Art, Pittsburgh; How Extraordinary that
the World Exists, CCAC Wattis Institute for Contemporary Arts, Oakland;
Altoids Curiously Strong Collection, New Museum of Contemporary
Art, New York; Moving Pictures, Solomon R. Guggenheim Museum, New
York; Summer Cinema, Casey Kaplan, New York; The Show That Will
Show That a Show Is Not Only a Show, The Project, Los Angeles; 2001:
I Love Dijon, Le Consortium, Dijon; The Dedalic Convention, MAK
Museum, Vienna; The Wedding Show, Casey Kaplan, New York; Mink Jazz,
Marc Foxx, Los Angeles; Angel Heart, Air de Paris, Paris.