Jim Condron: Collected Things New York Studio School

 Grace Hartigan’s Things, 2023, Crocs shoes, paint stick, pillow, steel , antique chair, steel, 35 x 45 x35 inches

Jim Condron: Collected Things

New York Studio School – 8 W 8^th St, NY, NY 10011

January 30-March 30, 2025

By RIAD MIAH February 10, 2025

The act of collecting is often considered an art form, born from a passion for specific items. While it starts as a simple hobby or interest, the process can evolve into a form of obsession—sometimes teetering on the edge of fetish, and bordering on hoarding. In the context of the arts, however, a collector must go beyond mere possession. They must learn about and research their desired objects, ensuring that each acquisition is informed by an understanding of its condition, market value, and historical or cultural significance. In this way, collecting becomes more than just amassing things; it transforms into a process of curating, a careful and deliberate act of selection based on a well-rounded knowledge of the object itself.

The obsessive nature of collecting also elevates the act into a form of art. It’s not necessarily about the objects themselves transforming into something new but rather about how the act of acquisition and collection becomes an artistic expression in its own right. The very nature of obsessive accumulation—the constant seeking and gathering of meaningful items—can be considered a work of art. For artist Jim Condron, this obsession plays a central role in his exhibition Collected Things, now on view at the New York Studio School. His artistic practice is driven by both a refined focus on the act of collecting and an intuitive process-based approach. This unique combination of research-driven collecting and spontaneous artistic transformation is what gives his exhibition its distinctive visual and conceptual impact.

 Sharon Butler’s Things 2023, Dry wall, acrylic, colored pencil, wood, metal, steel, glass, 24 x 48 x 4 inches

Condron’s process of collection involves an interesting dynamic between artist and donor. Rather than simply collecting objects for the sake of it, Condron invites individuals, often from the art world, to contribute. Each donor provides five to seven personal items, which are then incorporated into Condron’s evolving collection. The majority of the donated objects come from artists, writers, editors, and other professionals connected to the art world, including figures such as Maud Bryt, Lisa Corine Davis, Bruce Gagnier, Ann Landi, and Etty Yaniv. However, the exhibition also includes objects from outside the art world, such as donations from figures like Kevin Aviance and Mickey Drexler. These exceptions stand out as curious footnotes in Condron’s exhibition, raising intriguing questions about the nature of collecting itself.

 Kevin Aviance’s Things, 2024-‘25, Heels, false eyelashes, purse, vinyl, plastic, partial surfboard, steel, 30 x 18 x 13 inches 

Aviance and Drexler’s inclusion could be seen as a commentary on the broader scope of collecting and the different ways in which people imbue value into their possessions. Drexler’s items might be viewed as a nod to capitalism, reflecting how the concept of value can be subjective, with one person’s “trash” becoming another person’s “treasure.” Similarly, Aviance’s flamboyant persona and artistic practice seem to align with the fetishistic nature of collecting, where the collection itself becomes an extension of identity and personal expression.

What sets Condron’s collection apart, however, is the fact that he is not just a collector—he is also an artist. Trained as a painter, Condron transforms the objects in his collection into something new through the act of artistic reinterpretation. The objects are not left untouched; instead, Condron recontextualizes them, turning them into sculptures or apparatuses that speak to broader themes of transformation, memory, and artistic practice. In doing so, Condron creates a narrative around each object that extends beyond its original purpose, adding layers of meaning that resonate both personally and universally.

A prime example of this transformation can be found in the piece titled Sharon Butler’s Things. In this installation, five coffee decanters are arranged atop a piece of drywall, which is covered in white paint that conceals a grid pattern. At first glance, the work seems deceptively simple—just drywall, acrylic, colored pencil, wood, metal, steel, and glass. It could also be a work that is referencing another collector/artist- Haim Steinbach.  However, upon deeper reflection, the arrangement of these materials begins to take on a more complex meaning. The decanters, with their polished chrome surfaces and refracturing of light, could be seen as an allusion to art criticism, particularly the role of critical writing in shaping the art world. Given that Sharon Butler is the editor of the blogzine Two Coats of Paint, the reflective surfaces of the decanters might also symbolize the reflective nature of art criticism itself. The grid pattern on the drywall could further echo the way in which critical frameworks organize and interpret art.

 Karen Wilkin’s Things, 2023  Resin, vintage playing cards, wood, plastic, rubber, paper, 46 x 16 x 3 inches

Similarly, Karen Wilkin’s Things presents a fascinating juxtaposition of elements that evoke both personal history and broader cultural references. The piece consists of a set of playing cards arranged on a red-painted surface, with various objects such as a shaving brush, a tea strainer, and a museum admission bracelet suspended in resin. At first, the objects seem disparate, but the presence of the cards evokes the idea of a solitary game, a metaphor perhaps for the isolation often associated with the artist’s studio practice. This reading becomes even more poignant when considering that Wilkin is a renowned art historian who has spent much of her career working with artists, many of whom likely spent long hours working alone in their studios. The randomness of the objects suspended above the cards could therefore be interpreted as an allegory for the unpredictability of artistic practice and the diverse influences that shape an artist’s work. Looking at the work one recalls and nods to Jasper John’s “Target With Plaster Cast” of 1955.

Other objects in the exhibition appear to orient specific artists or artistic movements. For instance, the arrangement of objects in Grace Hartigan’s Things seems to evoke the spirit of Philip Guston, particularly through the placement of clogs with their soles facing upward, a reference to Guston’s own iconography. The disassembled studio chair adds another layer of meaning, suggesting the fragmented nature of artistic labor. In contrast, works such as Judy Glantzman’s Things, Elizabeth Hazen’s Things, and Carl Hazlewood’s Things focus more on concerns of form, balance, and color, echoing the language of sculpture in their abstract arrangement of objects.

 Graham Nickson’s Things, 2023, vintage book, palette, brush holder, antique aviary, wood 
, 40 x 26 x 26 inches

In addition to these artistic and intellectual readings, there is a strong sentimental thread running through the exhibition. Most of the objects in Collected Things belong to individuals who have some connection to the New York Studio School—a place Condron himself attended as an M.F.A. student. The exhibition opened just days after the passing of Graham Nickson, the long-serving faculty member and dean of the New York Studio School, who had worked closely with many of the individuals whose objects are on display. This timing lends an emotional depth to the exhibition, turning it into a tribute to both the artists represented and the institution that helped shaped and supported their careers.

Ultimately, Collected Things is a powerful meditation on the nature of collecting, art, and memory. It is not just a collection of objects but a documentation of the lives and practices of artists, a record of their journeys through the world of contemporary art. Condron’s work, through its complexity and multi-layered approach, underscores the fine line between what is considered valuable and what is discarded. In this sense, the exhibition raises important questions about the role of the viewer in determining the value of art and the nature of artistic legacy itself. WM