Introduction

Topher Lineberry, “Kinstitution: Between Archive and Proposal (Installation View)” (2021), mixed media sculptural installation, dimensions variable (photo by Néstor Daniel Pérez-Molière)
Topher Lineberry, “Kinstitution: Mountain” (2021), mixed media sculptural installation, dimensions variable (photo by Néstor Daniel Pérez-Molière)
Topher Lineberry, “Kinstitution: City-Coaster” (2021), mixed media sculptural installation, dimensions variable (photo by Néstor Daniel Pérez-Molière)
Topher Lineberry, “Kinstitution: Pavilion” (2021), mixed media sculptural installation, dimensions variable (photo by Néstor Daniel Pérez-Molière)
Topher Lineberry, “Kinstitution: Tower-Tunnel” (detail) (2021), mixed media sculptural installation, dimensions variable (photo by Néstor Daniel Pérez-Molière)

Hi there! Welcome to the inaugural post of my blog ❤ Blogs may seem retrograde but I think that makes it the perfect amount of pressure. One can also stretch their legs a bit more. I just finished my MFA in May and am eager to share what I’m making and processing. Some of my grad school peers and I were recently featured in a Hyperallergic article by Billy Anania. Very honored for the writeup – thanks Billy!

These images are from my graduate thesis exhibition, “Kinstitution: A Topia Between Archive and Proposal.” More images can be found on my website.

The statement which originally accompanied this body of work is as follows: “Topher Lineberry is a multidisciplinary artist whose work often uses historical and archival material in conjunction with speculative proposals. In short, Lineberry’s work fuses prequel and sequel into a queer space of becoming. Most recently, this mode of working has taken a sculptural turn, creating a miniature world of architectural models and maquettes which flirt with, refuse, and talk back to art historical categories forcefully grafted onto the American South such as ‘outsider art,’ ‘folk art,”visionary art,’ and handicrafts. Flat free-standing images occupy this miniature world, which were traced and altered from drawings by the artist’s grandmother, Helen Lineberry, who drew them in 1929 as a 10 year-old in the Appalachian Mountains. Using family and kin as a platform of investigation, Topher Lineberry advances a project they term ‘kinstitutional critique’ into a site of critical ‘kinstitution building.'”

I think it might be worthwhile to make some posts about some of my thesis ideas and research interests. I wrote a bloated research paper but I wonder if parts of it might be more digestible in blog form. Stay tuned ❤

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