Marshall Weber

The Binary Is An Illusion

Marshall Weber

The Binary Is An Illusion



Edition Size



Collage, Inkjet, Offset print




Artist Book


Brooklyn, NY


View Collectors

Bucknell University

The Binary is an Illusion is an Anti-Binary Pop Gender Utopian Statement.

It is Book #6 in the series “If I can’t dance it’s not my revolution.

If I can’t dance it’s not my revolution.” is the title of a series of 12 large-scale unique books concerned with the liberation of the human body from oppressive social constructions like race, static and essentialist cultural identities, dichotomous gender roles, and profit-driven health care. In the series dance and the image of dancers are used as the utopian symbols of total freedom and creative play. The book’s structures and materials are meant to reflect and magnify the gestures of dance and play. The scale and sometimes oblique construction of the books, which contain gatefolds in various directions and numerous paging possibilities, requires the reader to dance around with the books activating tactile and choreographic reading.

The title, while typically attributed to but not actually used by Emma Goldman, does, in my and others’ interpretation, accurately and succinctly convey her feelings about women not having their bodies or any creative behavior of same policed by men (or women) of any political persuasion. She describes the incident that catalyzed the phrase in her 1931 auto-biography “Living my Life”.

The series as a whole is an exploration of Spectrum Theory and Fractal Biology, two ontologies that I have developed to facilitate the necessary dissolution of non-sustainable binary, essentialist and fundamentalist thought.

This book’s pages are formed of two intertwined almost life-size inkjet photo prints and is ‘bound’ by having pages wrapped around two boards serving as covers and its four sections interlocked and held together by four couched pages, thus the book can be unfolded to form a large 2.5 feet by 6 feet double-sided photo-collage, in various configurations.

The book features wild calligraphy, and photographs taken of ravers at a Steve Aoki concert at the Granada Theater in Lawrence, Kansas in April of 2011 and of bar dancers at the Commodore bar in the Williamsburg neighborhood of Brooklyn, New York in 2010. The front cover and other parts of the Book have Bruce Nauman’s conceptual printed text piece “Body Pressure” collaged into the pages. The distinctive pink pages of this give away print piece and the resonant text resonate with the book’s other oblique musings. The photos were inkjet printed by Dana Smith on Moab paper.