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Apexart Curatorial Program 

291 church street new york, ny 10013 

t: 212.431.5270 

info@apexart.org www.apexart.org 

apexart is a 501(c)(3), not-for-profit organization 

and does not engage in sales or sales-related activities. 

apexart is a registered trademark. 

apexart’s exhibitions and public programs are supported in part by the 

Affirmation Arts Fund, Andy Warhol Foundation for the Visual Arts, 

The Greenwich Collection Ltd., Lambent Foundation Fund of Tides 

Foundation, Foundation for Contemporary Arts, and with public funds 

from the New York City Department of Cultural Affairs and the New York 

State Council on the Arts. 

You can support what we do at apexart.org/support.php 

apexart © 2015 

ISBN: 978-1-933347-88-2 

cover image credit: Heidi Neilson, ISS Road Trip, 2012, Video (still) 

Agnes Meyer-Brandis 

Neighborhood Watch Team 

Heidi Neilson 

Claudia O’Steen 

Andres Padilla Domene 

Katie Paterson 

Ivan Puig 

Robert Rauschenberg 

Joel Slayton 

The X-Hunters 

James Balog 

Captured Landscape Team 

Bruce Coffland 

Matthew Coolidge 

Tacita Dean 

Annabel Elgar 

William Lamson 

Charles Lindsay 

Drew Ludwig 

Peter Merlin 

Setting Out 

organized by 

Shona Kitchen, Aly Ogasian, 

and Jennifer Dalton Vincent 

January 21 - March 5, 2016 

apexart 

Ivan Puig and Andrés Padilla Domene, SEFT-1, 2006-2011, Prints, 27 x 14 in 

Setting Out seeks to untangle the terms that motivate and 

define contemporary expeditions. It holds in one hand the 

historical legacy of science, art, and society and their pursuit 

of all knowable and natural frontiers. It holds technology in 

its other hand and its connivance with human curiosity to see 

beyond each horizon. Together these fields create an image of 

the edge of human understanding. 

As curators, we set out on an exploration for work that 

represents the ethos and praxis of expeditions. The works we 

found demonstrate a recurrent set of practices and sentiments 

that circumscribe exploration’s essence. It didn’t matter if the 

explorer was an artist or scientist, or if the subject was cellular 

or celestial. The human preoccupation with the frontier - where 

the knowable bleeds into the unknowable - holds steady at all 

scales. As such, we found that to explore entails the desire to 

search as well as the impulse to share. 

The works included in Setting Out all meet on this field of 

desire and dissemination. The language, methodologies, and 

influences that inform each are fluid. The explorer is at once a 

scientist-artist who creates the ground for their expedition as 

their process of exploration unfolds. In their hands, technology 

expresses a DIY plasticity, bending and twisting so that new 

images may be transmitted back. 

In 1962, British science writer and futurist Arthur C. Clarke 

envisioned a world forever shrunk by a vast net of communications 

satellites. According to Clarke, the implementation of these 

satellites would collapse distance and time and enable mankind 

“to move almost instantaneously to any part of the world.” 

Abiding Clarke’s prescient vision, the launch of the first 

communications satellite ushered in an era of rapid technological 

innovation. In this new epoch, technology has extended 

human perception beyond the constraints of the human body. 

This promotes a culture of remote viewing, which paradoxically 

creates a greater distance between the viewer and the subjects 

or landscapes being viewed. These images deliver a disembodied 

understanding of the subjects they depict. As such, today’s 

world of places and materials has transformed into a world of 

representations and information. As inhabitants of this new world, 

we access images of our horizons in increasing detail yet do not 

clearly perceive the shaky ground beneath our feet. 

Katie Paterson’s Ancient Darkness TV responds to today’s 

networked reality and reproduces an incomprehensible image 

of cosmic time and space. Working with astronomers from the 

Mauna Kea Volcano telescope, Paterson’s Ancient Darkness TV 

records a transmission of ‘ancient darkness’ and broadcasts it on 

New York television station MNN. The work reveals darkness from 

the furthest point of the observed universe - 13.2 billion years ago 

- shortly after the Big Bang and before Earth existed, when stars, 

galaxies, and the first light began to form. 

Like many of the artists in Setting Out, Paterson’s work points 

to how remote viewing technologies are inherently unable to 

transmit a sense of the space they depict. Her work illuminates 

how technological media makes possible the material projection 

of place and time, and simultaneously presents us with an image 

that’s decidedly untethered to either. The word “dark” is often 

used to suggest the presence of the unknown. As viewers, we are 

literally left in the dark, wondering how and if this image allows 

us to comprehend our position in the universe. Or, perhaps, it 

simply leaves us at the periphery, oscillating between observation 

and imagination. 

Katie Paterson, Ancient Darkness TV, 2010, TV broadcast, VHS transfer to DVD, 6:09 min

From these remote frontiers, Setting Out transmits images and 

artifacts that question the human desire for conquest over space 

and time. This documentation is the output of the curiosity that 

propels the explorer’s work. It reveals the desire to collect and share 

evidence of celestial and terrestrial hinterlands. Curiosity dovetails 

the work of the artist and scientist. This process of coming together 

yields productive frictions and results in the commingling of differing 

methodologies, efforts, and approaches. 

extensive and multi-modal work pinpoints more than 100 aircraft 

crashes throughout the American Southwest - at places such as 

Edwards Air Force Base and Area 51 - by piecing together clues 

from interviews with pilots, Freedom of Information Act requests, 

and archival research. Their aerospace archeology grounds itself at 

the resting place of X-Planes, experimental military aircraft once 

used to test the limits of aviation technology, predominately for 

advancement of military purposes. 

James Balog, Extreme Ice Survey, 2007 

As with Paterson’s Ancient Darkness TV, Heidi Neilson’s work deals 

with time, distance, and communication technology. Neilson’s 

ISS Roadtrip combines stills from a video clip taken from the 

International Space Station as it orbited the earth into a book 

meant to be viewed in a moving car. From the passenger seat, 

the reader turns each page of Neilson’s book and simultaneously 

registers the velocity of the car in motion. 

ISS Roadtrip inserts the remote landscape of space into everyday 

life and transposes the satellite onto the automobile. Yet, despite 

the car’s willful complicity, it fails to reproduce the experience 

of moving through celestial space. The terrestrial remains the 

terrestrial, and instead, the reader suspends their sensation of 

reality so that they may follow Neilson into an intergalactic fantasy. 

Like Paterson, Neilson makes tangible an image of some distant 

periphery to which our lives are intimately yoked and infinitely 

removed. 

Joel Slayton, The Antenna Project, 2015 

Agnes Meyer-Brandis’ Moon Goose Analogue is such a poeticscientific 

investigation. The video presents Meyer-Brandis’ quasiscientific 

experiment in which she raised, trained, and equipped a 

flock of geese to fly to the moon. Inspired by Francis Godwin’s 17th 

century science fiction piece, “The Man in the Moone,” Meyer- 

Brandis mixes scientific and artistic practice to develop tools and 

systems that mirror and mimic those used in astronautics. The result 

is a touching and humorous pseudo-documentary that chronicles 

the tensions that occur when scientific and artistic approaches are 

merged. 

While some projects in Setting Out travel outward, others turn 

their gaze inward so that they may interrogate social and military 

infrastructures. They offer an alternate view of familiar landscapes 

and highlight the presence of industries, economies, and cultural 

phenomenon typically hidden or obscured. They curiously inspect 

the world at hand and conduct investigative processes that, at 

times, seem absurd and humorous. Their work excavates microand 

macroscopic territories, exposes hidden histories, and brings 

forgotten knowledge to the fore. 

Merlin and Moore’s work takes up technology as both tool and 

artifact. They travel to sites they presume an X-Plane has crashed 

and methodically line up photographs of the crash sites with the 

horizon. In this way, they locate distinct geographic features and 

establish the relative distance or location of crashed X-Planes. 

Their fieldwork reveals a constellation of forgotten sites across 

the American Southwest and highlights the existence of an active 

military presence within the desert landscape. In training their eyes 

downward, they map the undocumented history of aeronautic 

folly and failure buried in the landscape around us. Their findings 

reveal the ramifications of experimental technologies that push 

against the limits of speed and altitude. Merlin and Moore traverse 

the landscape on a microscopic scale; the minuscule fragments 

they piece together locate the hidden connection between earth 

and sky. 

Similarly, Matt Coolidge’s Center for Land Use Interpretation 

(CLUI) produces public programs that take participants out into 

the urban, technological, and industrial landscapes of Southern 

California. Coolidge’s public programs identify and travel to sites 

of cultural significance within pre-existing, everyday landscapes. 

CLUI’s public programs “microcosmically” tour the systems that 

support our everyday existence such industrial mills, electrical 

William Lamson, A Line Describing the Sun, 2010, 2-channel video 

plants, and aqueducts. Using the language and methodology of a 

museum, Coolidge draws our attention to sites and infrastructures 

that have always been present but perhaps never noticed or 

explored. 

Expeditions of yesteryear operated at geological and political 

frontiers. They, by definition, charged into some unclaimed horizon 

in search of knowledge, resources, and territory. Yet, the horizons 

towards which they strove were elusive and illusory. 

Setting Out has found that the horizon towards which today’s 

explorers reach now resides within sociological and technological 

terrains. These terrains are often formed from the integration of 

remote viewing technologies into our cultural consciousness. To 

examine these spaces, the work showcased in Setting Out dovetails 

at the inexhaustible curiosity and desire to translate all worlds into 

the language of human experience. 

Yet, this curiosity privileges sight at the expense of the other senses 

- and in so doing perpetuates a disembodied stance on the edge 

of human knowledge. The work of each featured artist-scientistexplorer 

tirelessly fails to capture and communicate the fullness 

of the frontier. Rather, this space is understood only through the 

collusion of all human senses - wherein the eyes, ears, skin, and 

musculature take in their surroundings and feel the scale of this 

unknown site. 

Shona Kitchen, Aly Ogasian, and Jennifer Dalton Vincent © 2015 

Unsolicited Proposal Program 2015-16 

Agnes Meyer-Brandis, Moon Goose Colony, 2011 Videostill © VG-Bild Kunst, 2015 

This is clearly articulated in the work of the X-Hunters Aerospace 

Archaeology Team, Peter Merlin and Tony Moore. Their 

The X-Hunters, documentation from 1992 expedition

Exhibitions Fellowship Publications Events Support General 

Images for Setting Out 

organized by Shona Kitchen, Aly Ogasian, and Jennifer Dalton Vincent 

on view January 21 March 5, 2016 at apexart nyc 

back to exhibition page 

INSTALLATION IMAGES 

Annabel Elgar, Specimen found in the trophy cupboard 

of first Fristad fly fishing club, Sweden, 2014; Annabel 

Elgar, Moon dust stockpile, New Forest, England, 2014; 

Works by James Balog, Claudia O’Steen, Joel Slayton, 

Bruce Coffland, XHunters: Peter Merlin and Tony 

Moore 

Works by James Balog, Claudia O’Steen, Joel Slayton, 

Bruce Coffland, XHunters: Peter Merlin and Tony 

Moore 

William Lamson, A Line Describing the Sun, 2010; Ivan 

Puig and Andrés Padilla Domene, Burro en Marte | 

Donkey on Mars, 2013; Ivan Puig and Andrés Padilla 

Domene, SEFT1 en Marte | SEFT1 on Mars, Colección 

Geológica de Marte | Geological Collection from Mars, 

2013 

Agnes MeyerBrandis, Moon Goose Colony, 2015 Agnes MeyerBrandis, Moon Goose Colony, 2015, Coproduced 

by The Arts Catalyst and FACT, in cooperation 

with Pollinaria, HD video, 20:56 min; Annabel Elgar, 

Moon dust stockpile, New Forest, England, 2014 




Heidi Neilson, ISS Road Trip, 2012 

Agnes MeyerBrandis, Moon Goose Colony, 2015; 




Heidi Neilson, ISS Road Trip, 2012; Heidi Neilson, ISS 

on I17N, 2012; Katie Paterson, Ancient Darkness TV, 

2010> 

Robert Rauschenberg, Local Means (Stoned Moon), 

1970; Drew Ludwig, Personal Item, 2015; Tacita Dean 

Teignmouth Electron, Cayman Brac, 1999 

Drew Ludwig, Personal Item, 2015

Shona Kitchen, Alyson Ogasian, Claudia O'Steen, 

Stephen Cooke, Vivian Charlesworth, Tim Wang, Yun 

Hong, Captured Landscape, 2015; Tacita Dean, 

Teignmouth Electron Cayman Brac, 1999; Tacita Dean, 

Teignmouth Electron, 1999 



Hong, Captured Landscape, 2015 

Charles Lindsay, Portable Device for Unforeseen 

Circumstances, 2015 

Ben Hooker + Shona Kitchen, Andrew Nagata, Tim 

Durfee Neighborhood Watch, 2013 

Ben Hooker + Shona Kitchen, Andrew Nagata, Tim 

Durfee Neighborhood Watch, 2013; Peter Merlin and 

Tony Moore, XHunters, Leather Jacket, 1984 present 

Peter Merlin and Tony Moore, XHunters, Leather 

Jacket, 1984present 

Installation view from back of gallery Installation view from back of gallery 












Hong, Captured Landscape, 2015 (detail) 

William Lamson, A Line Describing the Sun, 2010; Ivan 

Puig and Andrés Padilla Domene, Burro en Marte | 

Donkey on Mars, 2013 

Ivan Puig and Andrés Padilla Domene, Burro en Marte | 




2013; Center for Land Use Interpretation, Posters for 

event excursions, 19942015 

Ivan Puig and Andrés Padilla Domene, Burro en Marte | 




2013; Center for Land Use Interpretation, Posters for 

event excursions, 19942015

Peter Merlin and Tony Moore, XHunters Then and Now 

Photographs, 1984present; XHunters Aerospace 

Archaeology, The XHunters, documentation from 1992 

expedition 

Claudia O’Steen, Arc of Visibility, 2015; James Balog, 

Extreme Ice Survey, 2007 


Extreme Ice Survey, 2007 


Extreme Ice Survey, 2007; Bruce Coffland, 

ZEISS/NS001/MAS, 1994; Joel Slayton, The Antenna 

Project, 2015 

Bruce Coffland, ZEISS/NS001/MAS, 1994; Peter Merlin 

and Tony Moore, XHunters Then and Now 

Photographs, 1984present; XHunters Aerospace 

Archaeology, The XHunters, documentation from 1992 

expedition 

XHunters Aerospace Archaeology, The XHunters, 

documentation from 1992 expedition 

BROCHURE IMAGES 

James Balog, Extreme Ice Survey, 2007 James Balog, Extreme Ice Survey, 2007 

Center for Land Use Interpretation, poster for event 

excursions, 19942015 

Tacita Dean, Teignmouth Electron, 1999/2009, Color 

photograph, 26 3/4 x 35 in.; Courtesy of the artist and 

Marian Goodman Gallery, New York 

Annabel Elgar, Moon dust stockpile, New Forest, 

England, 2014 


of Fristad fly fishing club, Sweden, 2014

William Lamson, A Line Describing the Sun, 2010, 2 

channel video 

William Lamson, A Line Describing the Sun, 2010, 2 

channel video 

William Lamson, A Line Describing the Sun, 2010 

Charles Lindsay, Portable Device for Unforeseen 


Drew Ludwig, Personal Item, 2015, Rock, duct tape, 

briefcase handle 

Drew Ludwig, Personal Item, 2015, Rock, duct tape, 

briefcase handle 

Agnes MeyerBrandis, Moon Goose Colony, 2015 (c). 

Coproduced by The Arts Catalyst and FACT, in 

cooperation with Pollinaria (video still) 

Agnes MeyerBrandis, Moon Goose Colony, 2015 (c). 

Coproduced by The Arts Catalyst and FACT, in 

cooperation with Pollinaria (video still) 

Heidi Neilson, ISS Road Trip, 2012, Book, 7 x 10 in. 


(video still) 


(video still) 

Claudia O’Steen, Arc of Visibility, 2015, Video, 

binocular/projector stands, Yellowheart, cedar, glass, 

rocks collected over time from 41°29’40.72”N, 71° 

8’8.10”W, sandbags containing sand from same 

coordinates, video projections, stainless steel, glass 

reflectors, aluminum, mirrored plexi, compass level

Claudia O’Steen, Arc of Visibility, 2015, Video, 

binocular/projector stands, Yellowheart, cedar, glass, 

rocks collected over time from 41°29’40.72”N, 71° 

8’8.10”W, sandbags containing sand from same 

coordinates, video projections, stainless steel, glass 

reflectors, aluminum, mirrored plexi, compass level 

Katie Paterson, Ancient Darkness TV, 2010, TV 

broadcast, VHS transfer to DVD, 6:09 min. 

Katie Paterson, Ancient Darkness TV, 2010, TV 

broadcast, VHS transfer to DVD, 6:09 min. 

Ivan Puig and Andrés Padilla Domene, SEFT-1, 2006 

2011, 27 x 14 in. Prints and 16 in. diameter artifacts 





The XHunters, X15 crash site, 1992 

The XHunters, documentation from 1992 expedition The XHunters, F6F5K crash site debris, 1997 

291 church street new york, ny 10013 tusat 11am6pm 212.431.5270 support apexart


Public Program 

Preparing for Outer Space: Astronaut 

Training and Menus for Mars 

Janna Kaplan and Heidi Neilson in 

conversation 

In conjunction with the exhibition 

Setting Out 

organized by Shona Kitchen, Aly Ogasian, and 

Jennifer Dalton Vincent 

Friday, February 26: 7 pm 

00:00 / 69:13 

download video (453 MB .mp4) 

Janna Kaplan and Heidi Neilson will each present on topics relating to human survival in outer space. Kaplan will draw from her experience as a 

Space Research Specialist to discuss the tasks and challenges of preparing astronauts for spaceflight, while Neilson will present her Menu for Mars 

Supper Club project, which envisions the future of cuisine on Mars. 

Setting Out explores how the nature of expeditions has evolved into the modern day. Incorporating the work of archaeologists, engineers, scientists, 

and artists exploring a variety of realms both geographical and beyond, the exhibition demonstrates that all these expeditions share the same eager 

hunger to uncover the unknown. 

Janna Kaplan, M.S., is Lecturer in Psychology and Senior Research Associate at Brandeis University’s Graybiel Lab, specializing in Neuropsychology and Space 

Research. At Brandeis since 1983, she studies human adaptation to various conditions of space flight, such as zeroG, highG, artificial gravity environments, spatial 

orientation, and space motion sickness. Within the Graybiel Lab, Kaplan has developed a program initiating commercial and private payload and research of astronaut 

training, of which she is now Program Lead and Senior Scientist. The training protocol focuses on sensorimotor human factors of flight, such as space motion sickness, 

spatial disorientation, spatial illusions, and movement errors in changing gravitoinertial force environments. Kaplan serves on Faculty Advisory Councils of the Brandeis 

Genesis Institute for Russian Jewry, and of the HadassahBrandeis Institute for the Study of Jewish Women. She frequently lectures on the science of space exploration. Of 

special interest to her is the role of STEM curriculum (science, technology, engineering, math) in the empowerment and intellectual development of adolescent girls. 

Heidi Neilson is an artist addressing topics such as weather, fake snow, and the cultural landscape of outer space. Her work is often collaborative and publishingbased. 

She is a member of the ABC Artists’ Books Cooperative, cofounded SP Weather Station, and her work is included in over 60 museum and university collections. Born in 

Oregon, Heidi received a BA in biology from Reed College and an MFA in painting from Pratt Institute, and lives and works in New York. 

Please join us for this free and open to the public apexart event. 

apexart's exhibitions and and public programs are supported in part by the Affirmation Arts Fund, the Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, 

Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the 

New York City Department of Cultural Affairs and the New York State Council on the Arts. 



Public Program 

In Conversation: 

Charles Lindsay and Bruce Coffland 

In conjunction with the exhibition 

Setting Out 

organized by Shona Kitchen, Aly Ogasian, and 

Jennifer Dalton Vincent 

Friday, January 29: 7 pm 

00:00 / 74:34 

download video (488 MB .mp4) 

Charles Lindsay and Bruce Coffland discuss their experience working at NASA Ames Moffett Field from their respective points of view of as an 

artistresearcher and a NASA Operations Manager (Earth Science Office). 

Setting Out explores how the nature of expeditions has evolved into the modern day. Incorporating the work of archaeologists, engineers, scientists, 

and artists exploring a variety of realms both geographical and beyond, the exhibition demonstrates that all these expeditions share the same eager 

hunger to uncover the unknown. 

Charles Lindsay is a multidisciplinary artist interested in technology, ecosystems, semiotics, and esoteric forms of humor. Lindsay creates immersive environments, sound 

installations, sculptures built from salvaged aerospace and biotech equipment, videos, and photographs. He is the Director of the SETI Institute’s AIR Program. Educated 

as an exploration geologist, Lindsay is a Guggenheim Fellow, recipient of the Robert Rauschenberg Residency, artistinresidence at Imagine Science Films, and the 

innovator behind OSA EARS – a project designed to deliver real time sound from one of the world’s most biologically diverse ecosystems to anyone anywhere with 

internet. Lindsay’s work has been profiled by WIRED, Motherboard, ARTonAIR.org, Viralnet, NPR, and CNN International. 

Bruce Coffland is the Operations Manager for the Airborne Sensor Facility (ASF) at NASA Ames Research Center in Moffett Field, CA. Bruce has worked at the Airborne 

Sensor Facility for 35 years, coordinating and managing airborne Earth resource imagery acquisitions for NASA Earth Science investigators, and also for federal and state 

agencies including the U.S. Forest Service; U.S. Geological Survey; Department of Energy; the State of California, and numerous universities. Coffland has a Masters 

degree in Geography from San Jose State University, with a minor studies emphasis in urban planning and photography. 

Please join us for this apexart event. 

apexart's exhibitions and and public programs are supported in part by the Affirmation Arts Fund, the Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, 

Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the 

New York City Department of Cultural Affairs and the New York State Council on the Arts. 

apexart 

291 Church Street, NYC, 10013 

t. 212 431 5270 

www.apexart.org 


apexart 

Setting Out 

organized by Shona Kitchen, Aly Ogasian,and Jennifer Dalton Vincent 


291 church st. nyc, ny 

10013 p: 212.431.5270 

info@apexart.org; www.apexart.org

apexart 

http://bedfordandbowery.com/2016/01/journey-through-the-blizzardto-see-this-expedition-exhibition/ 


10013 p: 212.431.5270 


apexart 

Setting Out 


December 23, 2015 - February 21, 2016 


10013 p: 212.431.5270 


apexart 

Setting Out 


December 23, 2015 - February 21, 2016 

http://dailyserving.com/2016/02/setting-out-at-apexart/ 


10013 p: 212.431.5270 


apexart 

Setting Out 

organized by Shona Kitchen, Aly Ogasian, and Jennifer Dalton Vincent 



10013 p: 212.431.5270 


apexart 


10013 p: 212.431.5270 


apexart 


10013 p: 212.431.5270 


apexart 

http://hyperallergic.com/272341/tracking-artists-expeditions-from-glacier-surveys-to-a-search-for-nixons-missing-moon-rocks/ 


10013 p: 212.431.5270 


FRESH ART 

INTERNATIONAL 

CONVERSATIONS ABOUT CREATIVITY IN THE 21ST CENTURY 

FRESH VUE: SETTING OUT AT APEXART 

February 18, 2016 · in Fresh VUE 

Our podcast features 

curator Cathy Byrd in 

conversation with more 

than 100 culture makers 

from around the world. 

Setting Out at apexart Explores Territories At The Edge Of 

Human Understanding 

SEARCH 

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GUIDE: 

Setting Out 

Jan 21–Mar 5, 2016apexart, NYC 

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This exhibition came to our attention through Agnes Meyer- 

Brandis, a Berlin-based artist whose creative experiments 

we’ve featured on Fresh Talk. Curators Shona Kitchen, Aly 

Ogasian, and Jennifer Dalton Vincent discovered the work of 

Meyer-Brandis while on their quest to find artists and projects 

SUBSCRIBE for updates 

exploring territories “at the edge of human understanding.” The 

twenty projects in the show reveal a shared preoccupation with

twenty projects in the show reveal a shared preoccupation with 

the idea of “frontier.” Together, they demonstrate how 

the desire to search is inseparable from the impulse to share. 

To experience other points of view on the subject, listen 

to Texas Tech students talk about the road trip they took for the 

course Land Art of the American West. Clicking through these 

two Fresh VUE features may have you packing your tent and 

sleeping bags: Georgia State University student artists and their 

instructor document their adventure at Joshua Tree and we 

share images of our own drive across the American Southwest. 

Setting Out, Setting Out, 

installation view, 2016installation view, 2016 

Charles Lindsay, 

Portable Device for 

Unforeseen 


Center for Land Use 

Interpretation, poster 

for event excursions, 

1994-2015 

Drew Ludwig, 

Personal Item, 2015 

Agnes Meyer-Brandis, 

Moon Goose Colony, 

video still, 2015 (c)

William Lamson, A 

Line Describing the 

Sun, 2010 

Annabel Elgar, Moon 

dust stockpile, New 

Forest, England, 2014 

The X-Hunters, F6F- 

5K crash site debris, 

1997 

Ivan Puig and Andrés 

Padilla Domene, 

SEFT-1, 2006-2011 

Heidi Neilson, ISS Setting Out, 

Road Trip, book, 2012Installation view, 2016 

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Tags: Agnes Meyer-Brandis, apexart, contemporary art, exhibition, expedition, nyc 

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