CUPS by Dustin Ericksen and Mike Rogers
30th January – 6th March 2005
HOTEL presents ‘Cups’, a collaborative exhibition between London-based artist Dustin Ericksen and Los Angeles-based artist Mike Rogers.
Cups is an ongoing project that began in 1996 when Ericksen and Rogers met while at art school in Los Angeles. Since then, they have been acquiring drinking cups from artists from around the world. Cups have been collected at art openings, lectures, conferences, parties, and dinners. They have also been obtained during wedding celebrations, in cars and airplanes, at book signings, pubs, bars, restaurants, picnics, hospitals, and on streets. Cups have been acquired in cities throughout the U.S.A., Europe, and Asia.
The collection now numbers more than 350. Cups include those that have been used by Sol Lewitt, Ed Ruscha, Charles Ray, Alan Kaprow, James Turrell, Dan Graham, Tracey Emin, Raymond Pettibon, Vanessa Beecroft, Roni Horn, Julian Schnabel, Mike Kelley, Mel Bochner, Elizabeth Murray, Vito Acconci, Andreas Gursky, Rirkrit Tiravanija, Brice Marden, Takashi Murakami, Hermann Nitsch, Rachel Whiteread, William Kentridge, Barbara Kruger, and others. Equally important to the collection are cups that were used by those who don’t have instant name recognition.
There is a wide variety of types of drinking vessels in the collection, including wine and champagne glasses, beer and water bottles, water glasses, soda and beer cans, and coffee and tea cups. The cups are not cleaned, to retain their integrity, as each was taken immediately after the artist drank from it. The installation of the collection emphasizes sculptural, formal properties. A field of glasses, cups, bottles and other containers, each labeled with the name of its previous user, is arranged on three tables.
Collecting the cups is envisioned to be a life-long occupation for Ericksen and Rogers, who also maintain separate art practices. The cups reference socially inspired thinking in regards to art making, and they are very much a part of the social aspects of the reception of art. This work also reflects the culture of art collecting, and its dual concerns of name recognition and the power of aesthetics.