An Evening with Your Friends at Deadbeat Club

Join us for a fall launch party with Deadbeat Club!

We're kicking things off with a casual conversation between four newly published artists: Farren Van Wyk, Daniel Dorsa, Taylor Galloway, and Andrew McClees. Stick around for a drink on us!

Farren Van Wyk's Mixedness is My Mythology is the artist's first monograph. Juxtaposing the artist’s lived experience in the Netherlands with her inherited history as a native of post-apartheid South Africa, van Wyk navigates the space where personal narratives intersect with broader histories of representation, colonialism and power, ultimately producing a body of work that is both deeply intimate and widely resonant.

Serving as both a pseudo-scientific documentation and a personal record, Daniel Dorsa's To Skip a Sinking Stone explores how Greenland, much like the ice sheet itself, embodies deep contradictions: life-giving and life-taking, ancient and ever-changing, a source of both scientific inquiry and spiritual resonance. Through a vibrant sequence of portraits and landscapes, both celebratory and reflective, To Skip a Sinking Stone embraces Greenland’s contradictions in a moment of profound climatic, political, and cultural transition.

Both testimony and elegy, across the street from Heaven by Taylor Galloway is a consideration on time, memory, and belonging, on what fades away and on what remains: home and family. For ten years, Taylor Galloway returned to the farm his grandmother’s family has tended for five generations in Hartwood, Virginia. Together, his photographs form a chorus of faces and voices whose lives have unfolded upon this land, bearing witness to a way of life on the brink of disappearance, as small independent farms across America continue to give way to industrial agriculture and development.

With respectful devotion, Galloway’s photographs attend to the land, the people, and the quiet rhythms of time. They speak of changing seasons, aging bodies, familiar rooms steeped in memory, of the grace found in shared moments, and of a renewed optimism as the next generation takes up the torch.

Set entirely within his father's house, Andrew D. McClees’s Avalanche unfolds into an atmosphere of nocturnal claustrophobia, where tightly cropped photographs transform ordinary interiors into a fragmented psychological landscape.

Returning to the home he left after adolescence, McClees draws from memories of isolation, neglect, and depersonalization without ever settling into straightforward autobiography.