Joseph Imhauser

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What is my work about?

I highlight the structure of choice as a medium to procure objects in material form. My practice embodies art objects, communal events, film, invention and pedagogy. Between the presence of a virtual double and reality, psychical adhesion and affect manage to crack form and content – exposing the bilocation of time. Through employing choice as a primary formatting structure, lexicons develop that are interchangeable with the act of defining.


Artist Statement

My work focuses on drawing analogies between two or more perspectives. I began my creative endeavors as a musician, working in composition and voice, structuring experience through formulas and effect. By giving over the duties of structure to material and vice-versa, the viewer confronts their own preconceived notion and choice. Reflection signifies a doubling, while material and structure form the subject in the viewers’ act of defining, through which choice for the audience becomes an embodied experience. In Michel Serres book Genesis (1983), he states that ‘Time is not, as a rule, a line, although it can become one…’ This reference to a bifurcated existence, doubled by duration, provides the ability to define and give meaning via option. In the 21st century, creative and critical gesture is exemplified as a rhizome­­­­—a multipolar actuality that billions of people worldwide desire and consequentially redefine through their process of longing. I believe artworks are powerful tools for engagement. Stephen Wolfram, a preeminent theoretical and computational physicist, anticipates a golden-era of creativity as a humanist response to the fluency of digital structures and algorithms within our biological, emotional and caring lives. The role of the artist in the 21st century is one of an architect—a structural developer that has the ability to maneuver between both virtual and real bodies, a frequency more than a figure. Art, working as a structural formula, opens up the possibility for sentience of a higher dimension.

Growing Stations is part of a series of works meant to directly engage the redistribution of power and value within our everyday lives. Although these systems are not unfamiliar, they are just beginning to surface at an individual and residential level as an appliance. Over the last 10 years climate change has dramatically affected agricultural production. Genetic modification has given companies the ability to force consumers of agricultural products to buy and consume more food with less nutrients. Nutritionists and health experts around the world are recommending pharmacologically produced vitamins to make up for the lack of natural vitamins in food products. A major component of the Growing Stations is to amplify the amount of nutrient value within each fruit, vegetable or leaf harvested, reducing the body’s need for food intake naturally. Less food intake results in numerous benefits such as: less dependence on purchased food, the necessity to transport food en masse is dramatically reduced and the parasitic structures that divide and restrict awareness are ultimately directly affected.

Interiors is a series of wall paintings and sketches that began in 2007, with the idea of devising an illusory space in painting that simultaneously pulls the viewer closer to the picture while at the same time expelling them through implausibility and rupture. This most recent iteration of the series, the first three pieces in my portfolio, takes form as mural painting on preexisting wallpapers. The painting’s design and structure are in reaction and conversation with the spaces they inhabit—a living room in Berlin, an attic in New York, a bedroom in Paris. These works continue their production as a process of removal from one room, one city, one country, and then slowly begin to reconstitute their position with their next host. The wallpaper deteriorates and ruptures the illusion of the painting itself, while the fragility of the paper becomes a pseudo-surface in the process.

Invisible Layered Walls (2015), engages directly through the effects of trompe l’oeil and attempts to draw the viewer into that flat space. The viewer never fully gains access inside the illusion; the meandering lines form a doubling effect for both its failure and success in providing the consumption of illusion. Moving outside of representation, these murals embody a platform for reflection on illusions of the present and the half-analog half-digital experience of flesh as screen.




2012 MFA, NYU Steinhardt, New York, NY

2005 BFA, California Institute of the Arts, Valencia, CA



Consensus Fetish: a group conversation on polarity in the 21st century, Agora, Berlin, DE
A various asundry of itemized gifts., Casa Munganga, Amsterdam, NL
Cabinet de Curiosités Part 3, Antoine Lefebvre Editions, Paris, FR
EXIT: Cartographia de la Creatividad, Museo de Arte de Sinaloa, Culiacán, MX
Roulade: The Hubris Issue, Husk Gallery, London, UK

144 Gross, Nowhere Kitchen, Berlin, DE *
If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History, PARMER, Brooklyn, NY
Utopias and Realities, Transboarder Art at Anthology Film Archives, New York, NY
Homeland, Prattsville Art Center, Prattsville, NY
Genesis: Jeune Choréographes 2014 Ballet du Rhin, Hall des Chars, Strasbourg, FR
Half-Baked Antithesis, +81 Gallery, Brooklyn, NY
Joy Syringe, organized for 2014 London Biennale at 321 Gallery, Brooklyn, NY
Body Politics, EMBROS Theatre, Athens, GR
Inaugural, 321 Gallery, Brooklyn, NY

This is Water, KCHUNG, Los Angeles, CA *
Summer is Not the Prize of Winter, Shanaynay, Paris, FR
Il est amusant de prendre le train pour les petites villes, Immenance, Paris, FR
Fishing in the Dark, Violet’s Café, New York, NY
How About Now, Popup Projects, Los Angeles, CA

Warm House, After-Set Film Series, TriBeCa Grand, New York, NY
NYU MFA 2012, 80WSE Gallery, New York, NY

Living Room with Twelve Corners, Popup Projects, Los Angeles, CA *
how ounces become tons, NYU Wagner School of Public Policy, New York, NY *
Collective Show – Los Angeles, 995 997 North Hill Street, Los Angeles, CA
Revolution of Everyday Life, organized for Galerie Michel Journiac, Paris, FR

First USPS Airmail Pickup, Sedalia, MO, May 18, 1938, Northwest Film Center, Portland Art Museum, Portland, OR
Driven by What’s Inside, Side Street Projects, Pasadena, CA
Elysian Park Museum of Art, Los Angeles Contemporary Exhibitions, Los Angeles, CA
Diversions, Elysian Park Museum of Art, Los Angeles, CA
Portrait Projects, Five Thirty Three, Los Angeles, CA
Benefit Show, Dan Graham, Los Angeles, CA
Lifesize, Monte Vista Projects, Los Angeles, CA


lyeberry #14: Díasuerte, Cratér Invertido, Mexico City, MX
lyeberry #13: Luckyday, Santa Monica Museum of Art, Santa Monica, CA

lyeberry #12: Ruppersberg Americana Dinner Theater, ForYourArt, Los Angeles, CA

lyeberry #11: let us expand our picnic to what lies beyond the quotidian, various locations
lyeberry #10: a hybrid dinner party, 53 Bundesallee, Berlin, DE
lyeberry #9: Playlist, a candle-lit living room, New York, NY

lyeberry #8: Campfire, LACE, Los Angeles, CA; NYU Barney, New York, NY
lyeberry #7: TidePoolParty, Topanga State Beach, Los Angeles CA
lyeberry #6: Marian Harlow Friendship Residency, Elysian Park Museum of Art, Los Angeles, CA
lyeberry #5: Workshop, Tom of Finland Foundation, Los Angeles, CA

lyeberry #4: Performance Potluck, Los Angeles, CA
lyeberry #3: ArtSwap, Los Angeles, CA
lyeberry #2: Open Screening and Software Exchange, Los Angeles, CA
lyeberry #1: Share/Swap/Give Away, Los Angeles, CA


YoYoYo Initiative, Lyeberry, Rema Hort Mann Foundation

Franco-American Cultural Exchange, Fondation Carla Bruni-Sarkozy
Growing Station Prototype, Prattsville Art Center and ArtPlace America


Prattsville Art Center, Prattsville, NY

Prattsville Art Center, Prattsville NY
Nowhere Kitchen, Berlin, Germany

Prattsville Art Center, Prattsville, NY
Université Paris 1 Panthéon-Sorbonne, Paris, France

Popup Projects, Los Angeles, CA

Shared Discovery of What We Have and Know Already, Walker Art Center, Minneapolis, MN


EXIT: Cartographia de la Creatividad, Museo de Arte de Sinaloa, July
Blind Forces Cannot Organize Themselves Into Intelligently Structured Objects, Antoine Lefebvre Editions, July
The Hubris Issue, Roulade Magazine Vol. 2, April
Squid Sheek, ed. Jake Borndal, VCU Art, March

Díasuerte, Lyeberry and Cratér Invertido, November
Consensus Fetish, Floating Library, October
Utopias and Realites, TransBorder Art, September
Luckyday, Lyeberry and Santa Monica Museum of Art, June

Issue #6: Anticipation, andreview, December
Future Definition (visualization), Le Carré nº 8, La Bibliothèque Fantastique, April

2 + 1: a collaborative interview project, Publication Studio, May
NYU MFA 2012, NYU Steinhardt, April

Surf’s Up: The Aesthetics of Disappearance, White Columns #39, December
how ounces become tons, NYU Wagner, November
LBF #2, La Bibliotheque Fantastique, November
Collective Show: Los Angeles, Collective Show, May
Paper Control, Walker Art Center, March

Elysian Park Monument #1, Pamphlet, Los Angeles Contemporary Exhibitions, October
The Memory Bank Project, ed. Evelyn Serrano, September



Abre en el Museo de Artes de Sinaloa Cartografía de la Creatividad, Critica Politica, July
Viven el arte del mundo en El Masin, Linea Directa, June

If We Carry on Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History, Cheyanne Turions, November
Utopias and Realities, Kathleen MacQueen, Shifting Connections, September
Joy Syringe,, August
A Fissure and a Fusion, j.frede, Huffington Post, July
Prattsville Art Center, ArtPlace America, May
Embros Theatre, Joanna Panagiotopoulou, The Occupied Times, March

La Bibliothèque Fantastique, James Urban, Printeresting, May

Succulent Growing Station, Mammut Magazine #5, January

The Drumbeat Continues, Geoff Tuck, Notes on Looking, September
Akina Cox and Joseph Imhauser, James Frederick, The Citrus Report, June

Meditations on a Post-Medium World, Nico Machida, Artslant, August
Anthology Review: Internal Mechanisms, Beautiful Decay, August
Multimedia Pick of the Week, Mallory C. Farrugia, Flavorpill, July


Adjunct Instructor, NYU Stienhardt, 2010-Present
Adjunct Lecturer, Queensborough Community College, (CUNY) 2013-2014