Special Photo NOLA Preview: Friday December 13, 7 -9 pm
Opening: Saturday December 14, 6 -10 pm
Exhibition Dates: December 13 - January 5

Good Children Gallery is pleased to present Friday the 13th, a group show curated
by gallery-member Sophie Lvoff. Work by: Katie Kline, Rachel Granofsky, Jared Ragland,
Timothy Briner and Aaron Collier.

Panel Discussion led by scholar Emily Wilkerson, Saturday December 14, 4 - 5:30 pm

Opening reception sponsored by Bayou Rum



Belief in superstition is an acknowledgement that there are forces at work in our lives operating
below a visually perceptible level.

The imprecise origins of the Friday the 13th superstition suggests that our collective psyches
are as susceptible to the idea of the superstition as much as its ardent believers feel they are
susceptible to the benevolent or malicious forces that a superstition carries with it. The day stands
out, even for those who don't believe. Yet an observer would not be surprised to see even the
non-believers acting with an extra sense of caution throughout the day.

This exhibition is an exploration of Friday the 13th. Through varied, mostly photographic imagery
the artists have created something that isn't quite right. A sense of phobia or disjointedness is
evoked within the viewer, leaving one wondering about the logic of an event while many of the images
recall cinema and a narrative of death.

Katie Kline’s series of photographs speak to the impermanence of landscapes encountered across the
country. Traces, marks, and objects that suggest human presence inspire her solo meditations, settled
among a mass-manufactured hodgepodge. Ever interested in the wavering spaces between artificial and real,
the artist sees the effects of leisure, distraction, and even melancholy in the atmosphere.

Rachel Granosky composes pieces of drawn, painted and sculpted forms to converge for the precise point
of view of her camera until the intended spatial distortion takes shape. The detailed focus of the lens
reveals the tactile seams of the artist’s tenuous construction. These slippages interrupt continuity to
pose questions about the automatism's of perception, the direction of subjective control and the borders of
the single frame.

Jared Ragland’s series Everything is Going to Be All Right combines traditional black and white photographs
with appropriated imagery based on the themes and setting of Walker Percy’s The Moviegoer. The photographs
loosely document a dispossessed urban landscape while in combination with the appropriated imagery address
breakdown of traditional photographic representations, the subversion of symbolic language, and personal
feelings of loss, isolation, alienation and malaise.

Timothy Briner’s series Boonville brings together images form six iconographic American towns of the same
name in an effort to present a single, unifying view of America. While presented as a whole, the photographs
embody a stark perspective of the typical American small town.

Aaron Collier’s photo-based collages propose or imply allowing both the viewer and the artist to become
deferential participants, adventuring along with the image rather than exercising omnipotence over it.
What are we to make of the beauty that can accompany not knowing in full?



In the back room gallery, New Mexico-based artist Patrick Duncan’s series entitled Unhad Conversations With
Girls I Love explores a desert-induced, lovesick narrative through many different media: text, photographs,
found objects and painting.