Carrie Olson

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Carrie Olson Curated by Natalie Marsh January 21 - March 13, 2010

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2

BOARD OF DIRECTORS

9&17)&3$%:1+);$41),)&1$/8$<1&71&$=-'&.>.-$!-1?-&$4):-?$98$@1A.+14):-?$B8C8$D?*$5.A.-+$B*-+!)&.+-$E-&6.+F-+$G)'H?>H.I,$<&.-+$@8$/'-&1&

CURATORIAL

ADVISORY COUNCIL

9&17)&3$%:1+);<.II$<1&6?)+$J.II.-:$!)&21''K.>H1II1$9&-2+1&F)+-'H-+$E1'H1:$E-&.$=.'':-+4):-?$G):-K-&L)&.1$J1I.?H$

CUE FELLOWS

9&17)&3$%:1+);=)II3$%0M1I2-*:41),)&1$/8$<1&71&N$ChairO-+$!))01&J.II.-:$!)&21''#I1-+)&$D1-&'+13@12)&-H$B-??!)&.+-$E-&6.+F)+-'H-+$E1'H1:G)??-+-$K-&'.+1PF*-+$/Q+>H1PO&A.+7$/-+,I1&N$Senior Fellow!-&)I3+$/):1&?E.II3$J1.

STAFF

Executive Director F1&1:3$%,-:?

Development Director K-&+.$!)&21''

Programs Director <1-'&.>1$J)I1&'RJ11?1

Programs Coordinator G3-+$4):-?$

Development Coordinator S-I.-$/01''1&

3

CUE Art Foundation is a 501 (c)(3) non-profit forum for

contemporary art and cultural exchange that provides

opportunities and resources for under-recognized artists.

We value the astonishing diversity of creativity that

artists provide and the importance of their activity in

the social context of the city.

CUE provides artists, students, scholars and art

professionals resources at many stages of their

careers and creative lives. Our programs include

exhibitions, publications, professional development

seminars, educational outreach, symposia, readings and

performances. Since 2002, we have operated from our

4,500 square foot storefront venue in the heart

of New York’s Chelsea Arts District.

CUE exhibiting artists are chosen by their peers who are

themselves selected by a rotating advisory council from

across the country. This pluralistic process ensures that

CUE consistently offers diverse viewpoints from multiple

disciplines of artistic practice.

Simply put, we give artists their CUE to take center stage

in the challenging world of art.

Artist: Carrie Olson

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`?01>'->I1a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b$.'$.?$'H1$?3?'1:$'H&)*7H$UH.>H$'H1$>)+'1+'$)M$'H1$U)&6$.?$2)'H$>)+?'&*>'1,$-+,$WI'1&1,8$/01>.W>-II3N$O$,&-U$)+$'H1$'&-+?M)&:-'.A1$+-'*&1$)M$)&+-:1+'$-?$-$,1A.>1$')$1X-:.+1$'H1$>):0I1X.'.1?$)M$.,1+'.'3$>)+?'&*>'.)+$.+$>)+'1:0)&-&3$>*I'*&18

4

5

Biography

!-&&.1$cI?)+$U-?$2)&+$.+$/-I'$E-61$!.'3N$"'-H8$/H1$:)A1,$M&1V*1+'I3$UH.I1$7&)U.+7$*0$-+,$1+,1,$*0$?1''I.+7$.+$E)+,)+N$#+7I-+,$M)&$?1A1&-I$31-&?$21M)&1$:)A.+7$2->6$')$'H1$?'-'1?$')$1+&)II$.+$-&'$?>H))I8$/H1$&1>1.A1,$H1&$<(%$M&):$K-??->H*?1''?$!)II171$)M$%&'$.+$<)?')+$.+$^]]d$-+,$H1&$K(%$M&):$'H1$"+.A1&?.'3$)M$!)I)&-,)N$<)*I,1&$.+$eff^8$/H1$H-?$1XH.2.'1,$.+$7&)*0$-+,$?)I)$?H)U?$'H&)*7H)*'$'H1$"+.'1,$/'-'1?$-+,$.+'1&+-'.)+-II38$D1&$:)?'$&1>1+'$?)I)$1XH.2.'.)+?$.+>I*,1$'H1$"&2-+$O+?'.'*'1$M)&$!)+'1:0)&-&3$%&'N$9&-+,$G-0.,?N$KON$eff]b$$'H1$!)II171$)M$J))?'1&$%&'$K*?1*:N$J))?'1&N$cDN$effgb$-+,$'H1$h1+'&*:$(i&$B1&-:.6N$<1&I.+$91&:-+3N$effg8$/H1$.?$>*&&1+'I3$-+$-??.?'-+'$0&)M1??)&$)M$/'*,.)$%&'$-'$@1+.?)+$"+.A1&?.'3$.+$9&-+A.II1N$cH.)8$cI?)+_?$1XH.2.'.)+$-'$!"#$%&'$()*+,-'.)+$:-&6?$H1&$W&?'$?)I)$?H)U$.+$j1U$C)&68$$

O+$^]geN$4):-?$K>#A.II13$U&)'1$)M$'H1$H)I,$'H-'$!I1:1+'$9&11+21&7_?$M)&:-I.?:$1X1&'1,$)+$'H1$,.?>)*&?1$)M$ef'H$>1+'*&3$-&'k$“Passionate belief systems pass through cultures like disease epidemics.” ^$$K>#A.II13_?$,1>I-&-'.)+$&-.?1?$.+'&.7*.+7$>)+>1&+?$UH1+$>)+?.,1&.+7$'H1$:)?'$&1>1+'$U)&6$)M$-&'.?'$!-&&.1$cI?)+8$ /.'*-'1,$.+$'H1$?.:*I'-+1)*?I3$10.?'1:)I)7.>-II3$,1I.>-'1$31'$0)U1&M*II3$?*2'I1$?.'1?$21'U11+$9&11+21&7.-+$,.?'.+>'.)+?$)M$0*&1$M)&:$-+,$.II*?'&-'.A1$>)+'1+'N$0)'1+'.-II3$+1.'H1&N$0)'1+'.-II3$1.'H1&N$productively bothN$)&+-:1+'$:-3$21$I)>-'1,$-I)+7$-$A.?*-II3$-+,$>)+>10'*-II3$?U110.+7$>)+'.+**:8$!-&&.1$cI?)+_?$0-''1&+1,$:*I'.R:1,.-$.+?'-II-'.)+?$.+?.?'$-'$W&?'$'H-'$U1$-II)U$)*&?1IA1?$')$21$-2?)&21,$23$H1&$.+?.,.)*?I3$-II*&.+7$`\)&-a$)&+-:1+'-'.)+?$2*'$'H1+$`,.?R1-?1a$?1'?$.+$UH1+$U1$W+,$cI?)+$-??.7+?$?.7+.W>-'.)+R:)'.A-'.+7$,.-7+)?'.>$'.'I1?N$Marburg Galliard, H5N1 CakewalkN$'H1$,)*2I1$1A)>-'.)+?$)M$,.?1-?1$-+,$M)I6$,-+>18$D1&$,.7.'-II3$:-+.0*I-'1,$U-II0-01&?$.II*?'&-'1N$.+$'H1$-&2.'&-&3$&10&1?1+'-'.)+-I$?1+?1N$'H1$M)&:?$)M$:3&.-,$:.>&)?>)0.>$:.>&)21?$-+,$A.&*?1?8$/H1$?*&&)*+,?$*?$U.'H$'H1.&$A.2&-+'$-+,$?):1H)U$>):M)&'.+7$&101-'.+7$?'&*>'*&18$C1'N$,.?)&.1+'-'.)+$.?$-&'.>*I-'1,$'H&)*7H$'H1$U-II0-01&_?$I.'1&-I$?H)&'M-IIb$.'$,)1?$+)'$&1->H$'H1$\))&$-+,$H-+7?$I.61$-$,*2.)*?$?'-+,-&,8$(I)-'.+7$I.61$'&1-?*&1,$0)&>1I-.+$H1.&I)):$0I-'1?$-')0$'H1?1$`2-++1&?a$-&1$I)U$&1I.1M$,.?6?$,.?7*.?.+7$'H1.&$,-+71&)*?$01'&.R,.?H$.+H-2.'-+'?$UH)$,-+>1$H-&:I1??$`U-I'P1?8a$41?1$`M)II.1?Na$-?$cI?)+$-0'I3$,1?>&.21?$'H1:N$?*771?'$'H1$+-'*&1$)M$0-&-II1I$>*I'*&-I$>)+?'&*>'.)+?k$M1-&$-+,$'H1$?))'H.+7$:-&61'R&1-,3$,):1?'.>$-&?1+-I$')$>)+>1-I$-+,$>)+'&)I$.'8$ 41$>)+'.+**:$-I)+7$UH.>H$cI?)+_?$U)&6?$'&-A1I$.?$'U.?'1,$-+,$'*&+1,$*0)+$.'?1IMN$I.61$-$K)2.*?$?'&.0$*0)+$UH.>H$M)&:$-+,$>)+'1+'$1X1&'$.+?10-&-2I1$-+,$.+,.?'.+7*.?H-2I1$.,1+'.'.1?8$4.?$>H-II1+71?$9&11+21&7N$UH)$-??1&'1,N$`41$-A-+'R7-&,1$0)1'$)&$-&'.?'$?)*7H'$')$:-.+'-.+$-$H.7H$I1A1I$)M$H.?$-&'$23$2)'H$+-&&)U.+7$-+,$&-.?.+7$.'$')$'H1$1X0&1??.)+?$)M$-+$-2?)I*'1lm%&'$M)&$-&'_?$?-61_$-+,$m0*&1$0)1'&3_$-001-&1,N$-+,$?*2L1>'$:-''1&$)&$>)+'1+'$21>-:1$?):1'H.+7$')$21$-A).,1,$I.61$'H1$0I-7*18ae$$cI?)+_?$U)&6$.?$-+$.&)+.>$&1,&-U.+7$)M$9&11+21&7_?$-*')+):)*?$-&'b$.'$I.'1&-II3$&10&1?1+'?$,.?1-?1$-+,$0I-7*1$1:2),.1,$.+$1XV*.?.'1$M)&:8$D1&$>)+'1+'$.?$H1&$M)&:8$cI?)+_?$U)&6$'H*?$-I?)$7&-00I1?$U.'H$'H1$)A1&-&>H.+7$>)+>1&+?$)M$I-'1$ef'H$>1+'*&3$>1&-:.>$-&'$,.?>)*&?1$'H-'$H-A1$2)'H$0)I-&.P1,$-+,$7H1'').P1,$>1&-:.>?$-+,$>1&-:.>$-&'.?'?$M)&$,1>-,1?k$,)1?$M)&:$'&*:0$M*+>'.)+N$-+,$,)1?$-&'$'&*:0$>&-M'n$cI?)+$>I1A1&I3$230-??1?$'H.?$,.?>)*&?1$.+$'H1$.+'.:-'1I3$.+'1&>)++1>'1,$>)+'1+'$-+,$M)&:$)M$H1&$.:-71&3$)M$'H1$0-&-,)X1?$)M$>)+'1:0)&-&3$I.M18

Curator: Natalie Marsh

6

^8$`D1-,?$O'_?$()&:N$S-.I?$O'_?$j)'$!)+'1+'Na$ArtforumN$^]geN$&10&.+'1,$.+$-$I-'1&$A1&?.)+$.+$Capacity: History, the World, and the Self in Contemporary Art and CriticismN$#??-3?$23$4):-?$K>#A.II13N$!)::1+'-&3$23$98$G)71&$@1+?)+N$j1'H1&I-+,?k$c=%N$^]]dN$08$eeRoo8e8$!I1:1+'$9&11+21&7$YArt and CultureN$08$pZ$-?$V*)'1,$23$K>#A.II13$.+$&10&.+'1,$-&'.>I1$.+$Capacity$Y.2.,ZN$08$qe8

7

Biography

j-'-I.1$K-&?H$.?$-+$-&'.?'$-+,$>*&-')&$U)&6.+7$->&)??$+*:1&)*?$,.?>.0I.+1?$-+,$:1,.-8$$/H1$H)I,?$-+$K(%$.+$0-.+'.+7$-+,$=H@$.+$%?.-+$-&'$H.?')&3$M&):$41$cH.)$/'-'1$"+.A1&?.'38$()&$WA1$31-&?$?H1$?1&A1,$-?$'H1$M)*+,.+7$@.&1>')&$)M$#XH.2.'.)+?$-'$!)I*:2*?$!)II171$)M$%&'$r$@1?.7+$.+$!)I*:2*?N$cH.)8$/.+>1$effs$?H1$H-?$211+$'H1$@.&1>')&$)M$-$+1U$:*?1*:$1?'-2I.?H1,$-'$@1+.?)+$"+.A1&?.'3$.+$9&-+A.II1N$cH.)8$41$:*?1*:$1+>)*&-71?$'H1$&1?1-&>HN$1XH.2.'.)+$-+,$>-&1$)M$.'?$gNfff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tA.?*-I$>*I'*&1$-+,$H1&$>)::.':1+'$')$I.21&-I$1,*>-'.)+8

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Carrie Olson

9

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20

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21

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This essay was written as

part of the Young Art

Critics Mentoring Program,

a partnership between

AICA USA (US section of

International Association

of Art Critics) and CUE

Art Foundation, which pairs

emerging writers with

AICA mentors to produce

original essays on a specific

exhibiting artist. Please visit

www.aicausa.org for further

information on AICA USA, or

www.cueartfoundation.org

to learn how to participate

in this program. Any quotes

are from interviews with

the author unless otherwise

specified. No part of this

essay may be reproduced

without prior consent from

the author. Elizabeth Baker

is AICA's Coordinator

for this program for the

second season.

Carrie Olson: Fear as Commodity

By Christopher A. Yates

^8$/.171IN$K-&>N$False Alarm: !e Truth About the Epidemic of Fear, D)2)61+N$j1U$F1&?13b$F)H+$J.I13$r$/)+?N$O+>8N$effpN$08$^p8

22

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$e8$<-61&N$=1'1&8$`<*?H$cu>.-IN$.+$<))6N$S1II?$)M$=&1??*&1$)+$_fo$5)'1Na$New York TimesN$eff]N$j)A8$efN$eff]8$

24

>1-?1I1??I3$?1IMR01&01'*-'.+7$:-&61'0I->1$)M$M1-&N$cI?)+$?1,*>1?$*?$UH.I1$?.:*I'-+1)*?I3$>H-II1+7.+7$*?$')$>-?'$-$>I1-&$131$)+$)*&$0&1?1+'$H.?')&.>-I$:):1+'8

tk

25

41$U&.'1&N$CHRISTOPHER A. YATESN$.?$-+$-&'.?'N$1,*>-')&$-+,$M&11I-+>1$-&'$>&.'.>$2-?1,$.+$!)I*:2*?N$cH.)8$D1$1-&+1,$-+$K(%$M&):$/"jC$-'$/')+3$<&))6N$jCb$-+$KE/$M&):$B1+'$/'-'1$"+.A1&?.'3N$cDb$-+,$-$<(%$M&):$'H1$!)I*:2*?$!)II171$)M$%&'$r$@1?.7+8$D.?$U&.'.+7$-001-&?$M&1V*1+'I3$.+$'H1$Columbus Dispatch8$O+$effgN$H1$&1>1.A1,$-+$cH.)$%&'?$!)*+>.I$O+,.A.,*-I$#X>1II1+>1$%U-&,$.+$%&'?$!&.'.>.?:8$%+$%??)>.-'1$=&)M1??)&$-'$'H1$!)I*:2*?$!)II171$)M$%&'$r$@1?.7+N$H1$>*&&1+'I3$'1->H1?$M)*+,-'.)+?$>)*&?1?$-+,$W+1$-&'?$'H1?.?$0)&'M)I.)8$

26

27

CUE Art Foundation’s operations and programs are made possible with the generous support of foundations, corporations, government agencies, individuals, and its members.

MAJOR PROGRAM SUPPORT IS PROVIDED BY:

Accademia Charitable Foundation

The Viking Foundation

Agnes Gund

The Pollock-Krasner Foundation

The Greenwall Foundation

The Greenwich Collection Ltd.

Milton and Sally Avery Arts Foundation

Foundation for Contemporary Arts

The Joan Mitchell Foundation

The Andy Warhol Foundation for the Visual Arts

National Endowment for the Arts

New York City Department of Cultural Affairs

New York State Council on the Arts (a State agency)

William Talbot Hillman Foundation

MEDIA SPONSOR:

28

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O/<jk$]sgRfR]goq^eeRfRs

!-'-I)7$,1?.7+k$1I.P-21'H$1II.?=&.+'1,$23$:-&yX$:3I1?$.+>8$$*?.+7$^ffz$U.+,R71+1&-'1,$0)U1&

CUE Art Foundation511 West 25th Street New York, NY 10001212-206-3583 f 212-206-0321cueartfoundation.org

CUE Art Foundation511 West 25th Street, New York, NY 10001212-206-3583 f 212-206-0321cueartfoundation.org

2009/10