Inert and broken rulers measuring only their own lengths, street signs so densely clustered they tie the very idea of place into a thick knot, stadium diagrams and timetables rotated and overprinted until they blur into unparsable eddies of information… at the heart of Greg Colson’s work lies a desire to scramble, smear, or re-frame the established order of things meant to communicate a sense of order. That all the work still emanates a steady signal of pure information imbues it with a bracing clarity, while the degree to which familiar information is scrambled accounts for it’s fascinating power. I discovered Colson’s work in a remaindered copy of Giuseppe Panza: Memories of a Collector. Panza was a fervent enthusiast of post WWII modern art and among the earliest collectors of Rauchenburg, Rothko, Kline, and Lichtenstein (and a foundational donor to the Los Angeles Contemporary Art Museum). The book abounds in seminal and lesser known works by the greats (his Franz Kline collection is definitive) as well as top shelf lesser known artists, like Colson. Huge score, still in print, available here.