Time Based Work — JESSICA ELLIS

Valor, New Orleans, April 2020

Matthew III General Support, New York City, March 2020

The Cowboy is one of the most dangerous lingering archetypes implanted into the contemporary American psyche. The Cowboy is a method of mass control, a weaponized icon and a conspiracy. He demands nationalism and violence. He is the glorified cartoon character of white supremacy, colonial expansion and native genocide. His image evolves to suit the current American political or economic agenda. He is the false hero of the proletariat and propaganda tool for capitalism. He does not need luxuries, health benefits, time off or government assistance. He sleeps in the dirt and will destroy his body in the name of hard labor. His mannerisms and talking points are easily mimicked. He is an effortless costume to wear. The cowboy is the best disguise worn by the enemy of the working class. The desire to emulate this hero wedged in varying depths of our subconscious pacifies our desires to recognize when we as a public are victims of theft and violence.

The Cowboy is more than a political weapon but a cultural one as well. The stoic image of the pioneering artist is a cowboy. Images of the past 60 years in American, and consequently, western art history in general are loaded with cowboys. The cowboy is the gatekeeper of the cannon. Pollock, the ultimate bad boy cowboy. Lovable, pioneering, constantly drunk but everyone is cool with it. Gorky, the “I’ve seen things” cowboy. He has a dark history, you don’t ask him about it, his eyes say it all. Duchamp, the above the law cowboy, he will not play by your rules and will make history off of his vengeful ego. Stella, burns down the entire town, doesn’t want to talk about it. Koons, his dad owns half the land out here and you best not challenge him, even if he is constantly pissing in public. Texts, galleries, photographic documentation, movies, academic institutions and museums such as the Whitney continue to perpetuate this romanticized character eternally linked to the “innovative” artist. The construction of narratives that iconify artists are often a byproduct of marketing used to sell the work. The neatly packaged icon that America loved most was and unknowingly to themselves still is the cowboy. The danger in this cultural image is that it implies all art is made in the mode of aggressive competitive capitalist output. The pioneer is rewarded.

How To Claim Space Without Pissing, Performed By Jessica Ellis and Ye’ela Wilschanski, 2019

RODEO BOY 2019, Audio Installation

Lassoing Shit Outside the Whitney, Performed By Jessica Ellis 2018 — **Lassoing Shit Outside the Whitney,** Performed By Jessica Ellis 2018

“Lassoing Shit Outside the Whitney, The Cowboy as National Conspiracy” begins with the performer choosing one of the multiple city owned and maintained objects outside the Whitney. Examples include garbage cans, fire hydrants, and bike racks. The performer proceeds to attempt in lassoing the objects until they succeed in capturing the object or until they no longer wish to attempt lassoing the object.

Robert Morris & Friends, Performed by Jessica Ellis 2019 — **Robert Morris & Friends**, Performed by Jessica Ellis 2019

Podium, Collaboration With Aaron FrancisIce, Blood & Acrylic, Installed Havana Cuba 2016 — **Podium,** Collaboration With Aaron Francis
Ice, Blood & Acrylic, Installed Havana Cuba 2016

Participation Agreements 2016-Current“Participation Agreements” is a display of performance evidence acquired over the past year while work on “Everyone I Have Ever Slept With”. Throughout the series, I realized that my sex life and the work I did i… — **Participation Agreements 2016-Current**
“Participation Agreements” is a display of performance evidence acquired over the past year while work on “Everyone I Have Ever Slept With”. Throughout the series, I realized that my sex life and the work I did in the studio were inseparable. My sex life revolved around the paintings to the point where I could not afford to sleep with someone unable to participate in the series. The documents work as a reverse non disclosure agreement. Participants notified of the project before intercourse, then given the option if they wish to participate in the series, which was indistinguishable from the act itself. They are in no way binding by law, or by my personal standards due to my lack of interest in breaching someone's comfort level. The contracts are symbolic of the different forms of exchange that we encounter though sexual intercourse. The universal exchange was altered on my end through the work on the series and therefore altered on the end of anyone I engaged in sexual activity with.