Blog Index
The journal that this archive was targeting has been deleted. Please update your configuration.

SPRING/BREAK 2020 will return for its ninth NYC edition and its second Los Angeles edition. The 2020 theme is IN EXCESS. (see below for theme description and "required" reading/viewings)

Regular Applications* will be accepted from October 1st - November 22nd.

Late Applications* will be accepted from November 23rd - December 15th.

APPLICATIONS: For Independent Curators, Galleries and Non-Profit Organizations

CLICK HERE for 2020 New York City Application

CLICK HERE for 2020 Los Angeles Application

There are separate applications for the New York City and Los Angeles shows. Please note that curators may apply to both the New York City and Los Angeles shows and will need to submit separate applications for each show to be considered for either and/or both exhibitions. 

*Please note, all details regarding the application are provided here on the website and we do not accept proposals via email. All applications are reviewed by the end of the year and notification is emailed to the applicant. Once submitted, all application fees are non-refundable and non-transferable. 

We look forward to receiving your application and reviewing your curatorial proposals. 


“The more the merrier.”

                          - Traditional

The term ‘tipping point’ is used frequently in current affairs in regards to a variety of topics. Environmental extinction predominantly first and foremost, but also resumed economic stability, political divisiveness, information overloads, cancel culture mania, all are together thought to be at every manner of places along an axis of toppling the heck over, with varying ideas circulated as to which side of their scales are too overstuffed.

Art and entertainment feel indistinguishable from one another, piled together as “content”, which is consistently billed as in overwhelming supply from creators both amateur and professional; News peppers everyday moments through our devices’ push notifications and peer updates; tech-aided romantic possibilities appear infinite, as do all the other seductions of a globalized world—people to meet, people to follow, things to buy and eat and do. (Should one be able to afford it…For better or worse, then, the ‘too much’-ness of everything is certainly on the mind. In line with these grumblings of overmuch, SPRING/BREAK Art Show 2020 seeks similar inquiries into the paradoxes and nuances of ‘more’. For both upcoming New York and Los Angeles shows, IN EXCESS is actively searching for exhibitions dealing with virtues and/or limitations of maximalism, materialism, digression, hysterical realism, capitalism, encyclopedii, redundancy, consumerism, the over-foot-noted and the overlabored. Submissions may or may not include touchstones on multimedia, multiracial, or multiverse theories and perspectives; environmentalism, globalization, and future shock; the baroque, the Simulacrum, the epic, human play, the hall of mirrors, or any manner of other meditations on the Anthropocene and its anxieties; and, maybe—where we can find them—joys.

The pleasure of ‘more is more’ may be explored through the joyously overindulged overabundance of ideas, forms, perspectives. Aesthetically, ‘the bigger, brighter, busier, the better’ was once the zeitgeist with the intent to create, not a nauseous geegaw of consumer pleasures, but an impression that rattled complacency—generating, instead, awe, surprise, wonder; a sense of the infinitude of our World. Where is our awe now in all this excess? Where is the new Rocaille? Is it any good? Is it a spectre of Greed or Good? How much is not enough, and when is too little too soon?

References in the current and former art landscape include, but are not limited to, Peter Saul’s rambunctious hypercolor paintings of interwoven political brutality, Joyce Kozloff’s reframing of “women’s work” in her P & D movement pieces and their extension over into, and reframing by, artist Liz Collins, William Powhida’s art world cartography of complicit capitalism. Marco Brambilla crafts sprawling video pop cultural hells and heavens, packed with re-appropriated movie characters all fighting each other for a place in the pantheon, Mickalene Thomas constructs dizzying pastiche domiciles where tactile textiles, personal experience, and the figure from memory converge, authors like Thomas Pynchon and Zadie Smith jam-pack characters into stories teeming with a dance of detritus both intimate and historical; Stan Brakhage deploys the barrage for the sake of recalibrating our vision, Anselm Kiefer, with his fussy gigantic meditations, employs scale to save our soul. Robert Breer’s lightning speed animations stagger in their short running time pummel, Azikiwe Mohammed toils to find overstocked thrift store tapestries of Black utopias, and for Alison Zuckerman, art history, digital self-documentation, and Photoshop fiddling all find themselves locked, arm-in-arm, in triplicate.

Wilde suggested moderation in art and life was a fatal thing. But how does it support or subvert our consumptive excesses? Like Gittes once said to Mulwray, “how much better can you eat? What can you buy that you can’t already afford?”

People, go for baroque.



High Price, Art Between the Market and Celebrity Culture, by Isabelle Graw (‘Art World and Art Work in the Age Of Market Conformity’, pgs. 119 – 155, Sternberg Press, 2017)

The Crying of Lot 49, by Thomas Pynchon (J.B. Lippincott & Co., 1966)

Visionary Film, The American Avant-Guarde, 1943-1978, by P. Adams Sitney (‘Major Mythopoeia’, pgs. 175 – 227, Oxford University Press, 1979)

Living In The End Times, by Slavoj Žižek (‘Afterward to the Paperback Edition: Welcome To Interesting Times!’, pgs. 403 – 481,Verso, 2010)

Feel Free, by Zadie Smith (esp. the section ‘The World’, Hamish Hamilton, 2018)

The Dept. of Corrections, by Bob Nikas (‘Forever Nevermore’ pgs. 177 - 196, ‘Gardar Eide Einarsson: This Is the Way the World Ends. Never’, pgs. 271 – 286, Karma, 2015)

Essential Brakhage, by Stan Brahkage (‘Manifest’  pgs. 151 – 152, ‘the stars are beautiful’, pgs. 134 – 137, Documentext, 2001)

Labyrinths, by Jorge Luis Borges (‘Tlön, Uqbar, Orbis Tertius’, New Directions Publishing Corporation, 1964)

Film Noir Reader, by Alain Silver and James Ursini (‘Kiss Me Deadly: Evidence of a Style’, pgs. 209 – 235, Limelight, 1996)



Arabesque For Kenneth Anger (dir. Marie Menken, 1970)

Kiss Me Deadly (dir. Robert Aldrich, 1955)

Celine and Julie Go Boating (dir. Jacques Rivette, 1978)

Giants and Toys (dir. Yasuzo Masumura, 1958)

Madeline’s Madeline (dir. Josephine Decker, 2018)

Weekend (dir. Jean-Luc Goddard, 1968)

Fist Fight (dir. Robert Breer, 1964)

The Gleaners and I (dir. Agnés Varda, 2000)

Killer of Sheep (dir. Charles Burnett, 1978)

Cameraperson (dir. Kristen Johnson, 2016)


Installation view: David B. Frye curated by Mary Gagler (c) SPRING/BREAK Art Show 2019 photo by Samuel Morgan Photography