Zarouhie Abdalian
William Christenberry
Kevin Jerome Everson
Deborah Stratman

Double Cola is a group exhibition about sweetness, memory, labor, communication, prognostication, commercialism, growth, and decay. It positions time as a double-edged sword at once full of potential and simultaneously as the ultimate, unrelenting agent of decay. Featuring four artists with lives and works rooted in New Orleans, Alabama, Virginia, and Chicago, Double Cola tracks a subliminal line through the United States, implicating the movement of people, ideas, traditions, and industry, from palm reading to boat manufacturing.

Zarouhie Abdalian hurls clay into an outboard motor to make clutches; elsewhere, a sculpture demonstrates the meeting of a ballast stone and a gold plate. William Christenberry photographs the physical collapse of a palm reading site in Havana Junction, Alabama, over the course of many years. Kevin Jerome Everson turns his camera–clockwise–around a liquor store in Mississippi as the owner takes inventory. Deborah Stratman takes us to a Chicago landmark by way of the Blues Brothers, and we finish under the overpass at night.

Artist and curator biographies

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Deborah Stratman, Shrimp Chicken Fish, 2010, Digital video, 5:15 minutes

 

Deborah Stratman, Shrimp Chicken Fish, 2010, Digital video, 5:15 minutes

 

William Christenberry, Side of Palmist Building, Havana Junction, Alabama, 1961, 1961, gelatin silver print, 8 x 10 inches

 

William Christenberry, Palmist Building (Winter), Havana Junction, Alabama, 1981, 1981, archival pigment print, 20 x 24 inches

 

William Christenberry, South End of Palmist Building, Havana Junction, Alabama, 1979, 1979, c-print, 20 x 24 inches

 

William Christenberry, Site of Palmist Building, Havana Junction, Alabama, 1988, 1988, archival pigment print, 20 x 24 inches

 

Zarouhie Abdalian, Hull, 2018, Ballast stone, gold plate, 24 x 24 x 24 inches

 

William Christenberry, Double Cola Sign, Beale Street, Memphis, 1966, 1966, 35mm Kodachrome, archival pigment print, 10 5/8 x 13 1/2 inches

 

William Christenberry, Horses and Black Buildings, Newbern, Alabama, 1978, 1978, c-print, 20 x 24 inches

 

Zarouhie Abdalian, Clutch (viii), 2018, Paper clay, smoke, wax, 6 x 4 x 3 1/4 inches

 

Zarouhie Abdalian, Clutch (viii), alternate view

 

Zarouhie Abdalian, Clutch (iv), 2018, paper clay, smoke, wax, 4 5/8 x 4 1/4 x 2 1/2 inches

 

Zarouhie Abdalian, Clutch (iv), alternate view

 

Zarouhie Abdalian, Clutch (x), 2018, Paper clay, smoke, wax, 7 x 4 3/4 x 3 inches

 

Zarouhie Abdalian, Clutch (x), alternate view

 

Kevin Jerome Everson, The Barrel, 2019, color 16mm film with sound, digital transfer, 5:21 minutes

 

Kevin Jerome Everson, The Barrel, 2019, color 16mm film with sound, digital transfer, 5:21 minutes