Ericka Beckman’s Surreal Depictions of Late-Stage Capitalism
# Exploring *Ericka Beckman: Power of the Spin* at the Drawing Center
The Drawing Center in New York has long been known for its dynamic and thought-provoking exhibitions, offering a platform for both established and emerging artists. While its expansive front gallery often draws the most attention, the venue’s smaller spaces have hosted some of its most intriguing exhibitions. One such exhibition is *Ericka Beckman: Power of the Spin*, which offers a captivating look at Beckman’s unique artistic vision through her drawings and films.
## Ericka Beckman: A Pioneering Artistic Voice
Ericka Beckman, best known as a filmmaker, is often associated with the *Pictures Generation*, a group of artists from the 1970s and 80s known for exploring the influence of mass media and advertising. However, her artistic foundations were shaped at the California Institute of the Arts (CalArts), where she was exposed to an experimental and less structured approach to art-making. This dual influence has resulted in a body of work that straddles various artistic movements—engaging in critical dialogues about media imagery while also grounding her work in narrative and archetypes.
Rather than solely deconstructing media and capitalist structures like many of her *Pictures Generation* contemporaries, Beckman focuses on the underlying human stories that shape these systems. Her artistic language merges the critique of consumer culture with explorations of myth, play, and social behavior.
## The Exhibition: *Power of the Spin*
*Power of the Spin* brings together Beckman’s drawings and sketches that inform and exist alongside her films. Many of the works in the show are preparatory drawings and schematic images for her film projects. One standout piece, *Power of the Spin (You the Better)* (1982), features a roulette-like game positioned in a body of water, surrounded by escaping figures and a frantic rower in the foreground. This drawing ties into her 1983 short film *You the Better*, in which gambling and games of chance serve as metaphors for societal and capitalist systems.
Beckman’s drawings bear a striking resemblance to Russian Constructivism as well as the surreal metaphysical paintings of Giorgio de Chirico. Automaton-like figures and rigid, alienating spaces dominate her scenes, creating a sense of detachment and constraint. A particularly evocative work, *Cinderella 6* (1985), presents a character being manipulated or possibly tortured by a machine, encapsulating Beckman’s interest in both technology and the human struggle within mechanized systems.
## *Stalk* (2023): A Modern Myth in Motion
Perhaps the highlight of *Power of the Spin* is Beckman’s 2023 film *Stalk*. This surreal reinterpretation of *Jack and the Beanstalk* critiques corporate agriculture while blending vibrant, controlled movement with imaginative visuals. Originally presented live at Performa 2021, the film juxtaposes the synchronized labor of farmers with frenzied urban stock market scenes, drawing a direct line from agrarian production to capitalist exploitation.
One of the most memorable sequences in *Stalk* features Jack climbing the beanstalk against the backdrop of a Manhattan skyscraper. At the same time, a dancer embodying a sprouting plant moves gracefully upward, reminiscent of Cirque du Soleil. The symbolism in this scene is both playful and profound, emphasizing the paradox of growth within corporate systems.
While the film carries a strong socio-political critique, Beckman tempers her message with humor, surrealism, and a sense of human resilience, making her work engaging rather than overtly didactic.
## Beckman’s Lasting Impact
Through her experimental drawings and films, Ericka Beckman continues to challenge conventional storytelling by blending structure and spontaneity. In *Power of the Spin*, she presents a world where humans exist within vast, unseen systems—whether as players in a game, workers in an industrial landscape, or characters in a fairy tale. Her ability to merge critical discourse, abstraction, and human emotion makes her work both intellectually compelling and visually striking.
For those interested in the intersection of media, narrative, and social critique, *Ericka Beckman: Power of the Spin* is a must-see exhibition. The show runs at the Drawing Center (35 Wooster Street, Soho, Manhattan) through May 11 and is curated by Claire Gilman with Isabella Kapur.
By exploring Beckman’s intricate drawings and ambitious filmic visions, viewers are invited to reflect on the ways we interact with stories, systems, and media in our own lives.