ART FROM THE TUBE
Zane Hettinga

According to Andre Malraux though new artistic means art in will be less restricted to the usual confines of the museum. With the commercialization of the Internet in the early 1990s this gained new meaning for the art world, a new more free way of viewing art work and spreading the concepts attached to them. Giving the new means for the art world to propagate in the realm of fine arts there have been more democratizing effects that have lent the ability of anyone to produce and to show works of art. There are very successful examples for this for the purposes of this exhibition I will concentrate on the open call video site that is Youtube. This website is a museum to exhibit user-generated content including movie clips, TV clips, music videos, along with original videos. The democratizing effects have been well recognized and Youtube was given the George Foster Peabody Award Citing Youtube as “… a "Speakers' Corner," where Internet users can upload, view and share clips, is an ever-expanding archive-cum-bulletin board that both embodies and promotes democracy.” The effects of this democratized environment can be seen in the number of views which, in effect, is placing the viewer in the position of critic allowing for not only rating of the work but in posting written comments often critiquing the work. Malraux may not have foreseen the development of digital technology and the democratizing platforms to display new media work. What he did understand is greater accessibility to fields like photography were opening new avenues for the artist to engender empathy from their viewers.

An artist utilizing this new domain for is Jason Baalman, who posts under the name Electric Asylum Art when submitting has work on Youtube. The work that is shown by Baalman very process based, representational drawings using alternative materials to draw with or on. In the piece video Elvis Presley Painting with Cheese Puffs on Velvet, Baalman begins with the camera from above the velvet canvas. First all that is visible is the torn open bag of Cheetos in the top left corner of the screen when almost instantly, a hand moving at a greatly accelerated pace wielding a single Cheeto begins to lightly smudge the surface of the black velvet. From the beginning there is a early rock and roll track with vocals in the style of Elvis Presley coming in with minimal hesitation. Having a first fine layer of the wispy cheese dust down he begins to crumble the brittle orange puffed corn into masses around what is slowly becoming the face. Baalman begins to start smudging the medium tones of the face in between the fervor or the sped up hand precisely applying the crumbled cheese dust. Interspersed between the calculated drops of heavy pigment are brief and almost unnoticeable subtle smoothing with the flat foil interior of the Cheetos bag or the quick fine definition of the teeth with the point of his pencil. All the while the Elvis impersonator, with this slightly off tune backup team, wail on about how he’s “The King”. With his hand popping in and out of frame using differing hand gestures to further model this cheesy portrait, Baalman almost seems to be using sign language. After the portrait has been roughed in he spends the rest of his efforts smoothing and defining the surface to represent this seemingly iconic image of the late pop star. In the end before the viewer can see the finished painting, the artist informs the viewer that there are prints available for sale through his Ebay store. Here the artist has made available for the cost of only twenty dollars, here also is an embedded version of the video displaying the artist’s talent. This style of painting is one of the latest permutations of the American Velvet-Painting genre, a genre started and popularized by Edgar Leeteg, a billboard who lost his job due to the depression. Taking only a small inheritance and stolen painting supplies and moved to Tahiti where he painted erotic paintings of the local women and selling them to the passing sailors. Eventually Bernard Davis, a gallery owner in Honolulu, found Leeteg introducing him and his new take on velvet paintings to the gallery market. Although this style of painting can be seen as kitsch what Leeteg did was to recontextualise the work of early 14^th Russian orthodox priests from Kashmir who used the velvet to produce religious icon paintings. Since Leeteg took this the icons from his Tahitian island culture to represent on the velvet, so have many of his predecessors, taken icons such as Elvis, Jesus, dogs gambling, Presidents, racecar drivers and among many others religious icons. Jason Baalman is an example of a contemporary artist pushing his genre and medium further by combining it with non-traditional materials, something stressed within the scholastic realm of art. Baalman has naturally found the media of video and printmaking a remarkable fit for this ephemeral style of painting much in the same way Earthworks artist have chosen to engender an empathetic responses from their viewers by showing video of the process and selling prints. Andy Goldsworthy the artist who first comes to mind as a prime example of utilizing this similar marketing technique. Goldsworthy creates site and time specific work using raw natural resources such as rocks, leaves, sticks, water, and earth to create his highly engineered sculptures. His work is made using only the objects that he finds in the landscape around him, embracing the impermanence of the work, realizing that there is no true permanence to any artwork.“ when I make a work I often take it to the very edge of its collapse and that’s a very beautiful balance.” In his video Grizedale 1987 Goldsworthy is show creating and talking about his site-specific sculptures. He starts off behind a wall of shale that is holding up a very precarious shale arch. In the back ground you hear a mixture of percussive music and the falling of stone from the shale structure, as Goldsworthy removes the interior of the arch he talks about his connections to stone and stone walls including his experience as a stone wall builder. As the voice over continues he battles the will of this structure, poised for collapse, until finally he has removed the supports leaving only this beautifully and precariously balanced arch. Next Goldsworthy moves to what he says is the tallest piece in Grizedale being fifteen yards tall yet one could easily walk past the work without even noticing that it is there. This piece along with the next are made up whole tree trunks arranged according to weather they were straight or bent respectively, with the straight trunks bundled together standing on end while the bent snake horizontally across the landscape. Talking about how the straight piece lead to the bendy piece he said he found himself “looking for straight trees and only seeing bent trees so I decided to make something out of the bent trees...”. Moving on to the next piece Andy talks about how small pieces that are low to he ground, much like the one he is shown working on, can act as sketches to inform the larger scale work. His final piece that he talks about in this video is a very large stacked shale egg, in which he talks about the intensity and excitement that come when he realizes that he is working so close to the object’s collapse also about how working outside all year long is necessary to understanding a place. Through all of his work that he is displaying in this video Goldsworthy’s work seems to speak of process as product as well as using process to help his understanding of both space and place.

Brandon McConnell doesn’t seem to have all together too much in common with Andy Goldsworthy, but using different mediums and filling differing reams in the art world does not mean that they are that different when it comes down to it.

McConnell, according to his website, grew up as an artist working with stereotypical two dimensional material such as drawing on his school desk, and winning high school competitions for his ink and airbrush works. While on a day trip he came upon a man painting with spray paint on the streets of Tijuana, this encounter spurred him toward a new vein of work. He much like Goldsworthy has found a personally interesting set of materials to dialog with that are culturally relative. While McConnell uses his interests in production, painting, masking, and modes of alternative mark making; Goldsworthy’s interests lie in natural materials, impermanence, and balances. Yet the culmination of both of their work is most visibly in still images (paintings for McConnell and photographs for Goldsworthy) and video detailing the performative nature of the processes used to create their art.

In 39 Second Painting McConnell demonstrate the skill and ease with which he can create an image. The video is shot so that only things centered in the frame are the canvas, his hands and a clock to corroborate McConnell’s claim. With a skillful flip of the paint cans he syncs his start with the alignment of the clocks second hand at 12 thus exploding into a fury off motion and the ensuing mist of paint precisely landing in its place on the paper. Within the first seconds he has confidently established the colors that will soon become the planet mixing through spraying then blotting with a page from a magazine. Using a lid from a kitchen pan to mask the outline of the planet the background is applied while using paper to mask the lower portion of the canvas. A few flick of the fingers births the stars, again he smudges with the paper this time creating mountains. In a blur of black paint the masked region is defined to a pyramid and with a few final wipes, swipes, and sprays you are looking over a lake nestled in the mountains of some strange moon of a distant galaxy.

So what is really separating these two artists? Like Baalman, many do not respect McConnell’s work as art even though he claims it to be so, while Goldsworthy’s work is seen as art without question. It seems to partially be due to a cultural need to equate time spent working on something with worth of the object then categorizing things accordingly. Could it be due to the mediums used or the context in which the work is made and sold? What ever it may be the fact you can view either on a level playingfield is enough for me to question the space in-between the two.

Bjorn Melhus is a Norwegian artist working primarily in new media who seems to have a gras on what the potential for marketing is through sites such as Youtube. Melhus has created his own site on Youtube where he displays a great deal of his work from the past 10 years in clips from the video or installation. In his piece “Primetime” Melhus has created a three channel video installation with 19 televisions, 5 video cubes and one large projection spanning beween two rooms. The clip start out with the bank of nineteen televisions screening a wipe of white diagonally across the screen to what seems to be a commercial jingle. Stacked five high the video cubes blink white with the rhythm of a voice clip whose source seems distinctly that of a talk show guest with intermittent suspenseful music clips. This is abruptly cut with the cubes blinking red with a corresponding alarm tone and the wall mounted nineteen follow suit. Again there is a quick transition to a thin shirtless male in a grass skirt projected onto the wall opposing the nineteen. The man has a super imposed overly smiling face and is dancing while the opposing televisions scroll along to the words “Im having sex with my father” repeated along with the talk show voice and a drum backbeat. This develops almost into a pop music track with the two channels of sound and video dialoging back and fourth. Silence comes back as the projection turns to that of another of Melhus’s characters dressed as a televangelist in a red spot coat holding a large microphone. Again the two walls begin a different song like dialog evolving from some of the talk show elements similar to those before, escalating and building into a fervent array of over stimulating elements. Stopping back on the projection of two mirror images of girls dressed and speaking televangelist jargon with the wall of televisions starting a targeting sequence ending in the words target executed.

Melhus’s work directly stems from the way that we interact with the media by taking both visual and sonic elements and recontextualizing them to point out the way that we are affected by them mentally and emotionally. Through these spastic and hyper emotionalized means Melhus recreates a hyper-real version of our national media. In installations such as Primetime that carry such culturally relevant concepts it is only natural for Melhus to utilize such a far reaching means of communicating his concerns.

These artists all using differing media addressing varying concerns may all seem to be far from relatable yet no matter what their media is addressing they have all found viewers in the same gallery. YouTube has become a place that is best suited for this specific goal to allow anyone to share content pertaining to their individual concerns therefore democratizing the ability for artists to share their work.

YouTube links

http://www.youtube.com/watch?v=G7dnyedABYE

http://www.youtube.com/user/spacepainter#p/search/0/mnmOKjSV-50

http://www.youtube.com/user/bjornmelhus#p/u/0/CRszAGAXDY8

http://www.youtube.com/user/EclecticAsylumArt#p/u/5/SXigfZGqsLM

Exterior links

http://www.barracudamagazine.com/leeteg.htm

http://www.melhus.de/

http://www.spacepaintings.com/spraypaintart.html

http://stores.ebay.com/Eclectic-Asylum-Gallery

fragmented

Fragmented

By Melinda Friday

Throughout history, fragments have given many societies a focus for research towards their ultimate search for truth. It may be fragments of texts, objects, or narratives that one may desire wholeness. The lure of the fragment is the potential quest for answers to its past existence in hopes to discover an understanding for the present. The exhibition “Fragments” is an exploration into the use of the fragment formally and metaphorically.

The word fragment comes, from the Latin word. Fragmentum "a fragment, remnant," from root of frangere "to break." Webster’s Dictionary defines the fragment as a part broken off, detached, or incomplete. The artists chosen to participate in the exhibition use an idea of the fragment unique to their work, but are all connected by its roots. It is important to understand that the fragment may not always take on the function of an object, but anything representational of something whole. Ann Hamilton, Kristen Morgin, Elana Herzog, and Louise Bourgeois are four successful artists that are, in some ways, fragments in their own right. They represent a shift in history where women are holding there own in the art world. Their work will live on as a fragmented token of their existence.

A fragment is not just an object. It is anything that will connect a prior existence or is representational. Memory clings to particular fragmented objects based on their association to specific times, places or individuals. A piece becomes a fragment when its function changes from an object to a metaphor.

“It is not the fragment that is ephemeral but rather that which is enduring” (Feigenbaum). In the introduction of the “The Fragment: An Incomplete History, the editor William Tronzo, refers to the big bang theory to explain the fragmentation process. The theory explains that since the big bang the universe is in constant motion of expansion. If this is true, it leads one to believe that the fragment is not just an incomplete whole, but itself an object in motion that has its own purpose. With this in mind, what was first viewed, as a symbol of the ephemeral can now be understood as that which is enduring. Toronzo explains that the whole is actually ephemeral. Wholeness is transitory (Tronzo).

“W(E)VE”, by Elana Herzog is a compelling work that prides itself on its beauty. Photographs alone draw one in. I can only imagine experiencing the work in person. On the surface W(E)VE is a fragmentation of textiles that are ripped, torn, and disjointed from the surface it clings to. Climbing around walls and up corners, the fabrics disintegrate and resurface in and out of their entanglement with the wall. It reads as a passage through a memory where information has become disjointed and lost over time. Through Elana’s playful manipulation of materials, however, a new order reveals itself. The negotiation between the content of her work and the wall creates imagery that reads much like a painting…If these walls could paint what would they say?

Investigating a detail of Herzog’s work, its construction becomes apparent. Countless concentrations and subsequent diffusions of staples follow the weave of the fabric determining the unique textiles ultimate interpretation. Without the use of the staple, the piece would cease to exist in the same context. The staple gun is an indispensible tool in studio practice, often impermanent, but decidedly utilitarian, perfect for quick 3-D sketches. Textiles, on the other hand, have been an object of materiality depicting wealth and status for thousands of years. Fabric connotes domesticity and femininity, signifying comfort and security. It is a very loaded material, in contrast to the seemingly insignificant staple, which acts as the architecture to her work. The aesthetic and material qualities of Elana’s work, reveal an very apparent interest in the formal and conceptual use of the fragment.

Kristen Morgin’s impermanent replications of antique objects such as cars, toys, musical instruments, and animals, have been a continued investigation in her work since she attended graduate school at Alfred University. Constructed of unfired clay bonded with glue and cement, Morgin’s forms are constructed over wood and wire armatures. Leaving the armatures accessible to the viewer informs the audience of their architectural structures and process. Cracks along the surface of her forms also are informative to the process of ceramics and its tendency to shrink as it looses water. Leaving the process of the making evident to the viewer provides information that is imperative to her work. This knowledge is providing substance to the process of making.

The objects she replicates, true scale or larger, resemble something pulled from an archeological excavation sight. Kristen relies on the untraditional construction of unfired clay for conceptual completion. The objects Kristen chooses to replicate hold both historic and emotional value, conjuring nostalgia and memory through their playful subject matter. The objects themselves seem to hold less importance than the memories to which they attach themselves too. Kristen’s works are fragmented moments in time that have been preserved to capture the experiences in history that are worth holding on to.

The role of the fragment in her work is more literal in some pieces and less obvious in others. “Lion” is a replication of what seems to be pieces to a carousel character from a child’s memory. Kristen replaced the lions missing elements with a wood frame representing the architecture of the once whole object and giving the fragments a structure to cling too. One odd thing about this piece is that unlike her other works; the Lion is constructed from fired ceramics. Completing the ceramic process by firing the work to a permanent state refers to the notion that the fragment is one of endurance and not just a temporary object. Taking in consideration the unfired state of most of her work Kristen’s decision to fire a piece takes on more importance than most fired work. Her M.F.A. work from Alfred implies the opposite by creating unfired objects that look like they are in the process of decay. She speaks of the ephemeral, transactional function of an object: A violin,once a vessel of music, takes on meaning beyond its original function.

What is the human obsession with collecting the fragment? Susan Stewart uses the souvenir as an example to explain our desires to hold on to objects that connect us with our past existence. She explains that it is not the souvenir that holds value, but the experiences that they are attached too. These object only exist beyond there formal state through the existence of the narrative. It must be understood that it is not the object that holds the narrative, but the narrative of the owner. The collection becomes another form of narrative. Although maybe only one piece of the collection that has a personal connection too the relationship is applied to the collection as a whole (stewart,135-137, 150). The physical value of the souvenir is low, but the connection between the experience and the object is incalculable. The human tendency for nostalgia is not one easily explained. It is a desire that holds no true value or immediate need for survival. Yet it is a need whose roots are strong.

Louise Bourgeois’s , Cell Series, uses the fragment frequently within the context of gated spaces. Pictures are limiting and rarely captivate the experience needed to understand a piece of Bourgeois’ Alan Schwartsman describes the work very comprehensively. The use of the fragmented body is present in most of Louis Bourgeois’ work, but the piece “Cell (you better grow up)” is particularly successful. The cell, a construction of disparate parts itself, contains a number of fragmented objects within its walls. The seven foot cubed cell is made of old industrial windows and caging touching on its own past existence.

The focal point of the space is an unrefined block of marble with three skillfully carved hands abruptly ending at the forearm. The imagery of the pair of hands, possibly a child’s, held by the hand of another initiates a strong emotional response of comfort and security. The implication is that the love and comfort received from another might be short lived, but the effects of the experience will continue. On an aged wooden workbench sits three empty perfume bottles and a tall glass structure that resembles a vortex of sorts. The empty perfume bottles are fragments of a past function that they no longer perform, but have been held onto because of there reference to an experience the artist may hold valuable. On another table sits a stack of bulbous glass forms containing a nude female torso and a ceramic bowl with three chambers. Three circular pivoted mirrors allow various perspectives of the space from different angles.

Bourgeois use the fragmentation of the narrative to create her spaces. The space itself becomes a fragment. Pulling from her childhood and other life experiences she attempts to understand there continual existence in her life. The perfume bottles from her child hood have lost there intended function, but has gained transactional purpose as mementos. The importance is unique to the artist, but as a common object one may find value through there own experience.

Ann Hamilton is a multimedia artist, whose work ranges from large-scale installations, photography, prints, to performance and found objects. Enriched with history that is relevant to the area that her work is being displayed she relies on heavy research to outline her installations. Weighted with social and political implications her work is often significant to the building or areas past. Hamilton’s use of element that awake the sensory has strong implications in most of her work.

“Malediction” 1991 in SoHo was an installation remarking on the local history of the area. Hamilton’s Installation responded on the booming clothing industry that once was reliant on the use of immigrants, woman and children. A fire in 1911, killing 146 workers, forced politicians to pass laws that enforced safer work situations and the use of child labor (art21).

Enter the installation the audience is first forced to step over a room full of wine soaked rags that have been rung our and left to producea strong odor. Entering the next room one could hear a voice reciting two poems by Walt Whitman, “Song of myself” and “The Body Electric.” The artist sits at a large table facing away from the entrance. On the table sits a large bowl of dough to her left and a wicker casket to her right. On further investigation, one would notice that Hamilton is using the dough to make an impression of the roof of her mouth and then places it in the casket. The wall facing the performer was stacked full of folded bed linens from floor to ceiling (art 21).

Hamilton use of the fragment is a bit different than most. Her work relies on fragmented history to evoke a question for her installations present. The bread impressions become rotting fragments of the unspoken and decaying dirt of the past that the present ignores. The use of the casket remarks on mortality, but by combining the use of the bread and wine Hamilton is implying the act of communion. Communion is representational of the body and blood of Christ living on through his followers. In mortality, there is also the endurance of memory. The overwhelming pile of bed linens piled against the wall represents the work force of the women and children that were exploited in the clothing industry. Smell, sound, and taste are strong senses the can evoke nostalgia for a certain time I ones life. Hamilton uses all of the senses in her installation in a truly remarkable way.

The fragment in not always as tangible, but is anything representational of memory or to past which is unique to individuals. The function of the fragment becomes a bridge between something that is experienced and something that can only exist conceptually. Although objects may loose their immediate functions, the experiences they represent endure as fragments.

In conclusion, the exhibition may be less about the fragment, and more about the strength of the experience and the substance, we associate them too whether it be an object or not. It is a remnant of what is left which may only be a fragmented memory. It is on human nature to cling on to these notions for it is the study of our past socially and individually that makes sense of the present and informs the future. Without these bits of information to ponder on, we would be left with nothing to question. It is the fragment and our desire to understand that keeps the search for truth alive.

Response to meet in class

New post at postproduction.tumblr.com

nature sequences David Ashby

Natural Sequences
The main interest of my image research has been finding Alfred University MFA graduates’ work that is based on different aspects of nature, specifically concentrating in the mediums of glass and ceramics. Nature and organic forms have a huge influence on my artistic expression, as well as being the inspiration to many other artists. In finding artists with similar inspiring interests, I hope to expand my interpretation and develop a higher sense of what an exhibition can offer to the public eye.
Creating a space that evokes emotions while incorporating an underlying message can be a difficult task. I plan to collaborate these works of art together to make the viewer aware of what could be, and what will be if we as humans don’t change our actions
Linda Huey’s ceramic sculptures were the first to catch my eye. Her organic and botanical forms, along with the lush color pallet, evoke questions about the environment. I was intrigued by this particular piece, Remainder – 2007. It brings forward ideas about environmental change and human interference. The piece stands twelve and a half inches tall and there is a central botanical figure glazed a light, pastel blue-green. Engulfing the plant from the back is a more geometric rectangular block. It mimics compacted metal that has the appearance of being weathered and it has a coloration of rust. An oval hole in the front of the block harbors the central plant figure. The only contact between these two components is at the bottom of the plant formation. It appears as if this sculpture was a section cut from the ground in an industrial park. What once had flourished in the open air is now incased in metal debris exposing the underlying past. It illuminates how humans have a massive negative impact on the environment.
Environmental change is a big topic to consider. Reading further into the piece, it brings up ideas of decomposition, absorption, and human interaction. Our production and consumption of materials, as well as our interactions with them, effects the way other organisms thrive. For example, massive amounts of air pollution causes acid rain, which is now destroying our Great Lakes and the organisms in them. ‘Remainder’ may suggest a contradiction to that aspect because there is a sense of adaptation and natural processes; weeds and grass can break through and grow out of concrete over time. However, perhaps this sculpture is a memorial for a forgotten field of flowers that is buried beneath a parking lot.
There are many interpretations I felt that could be expanded on and developed further accompanied with work from artists with similar interests about changes made in nature. The artist by the name of Robin Cass creates images of natural events in glass. In her series of work titled ‘Consumption’, she creates images using minimalistic bird forms. The birds are matte, neutral colors. Some have railroad spikes driven through their bodies. Others are attached to a metal armature that is mounted to the wall with branches along side of the birds. The branches are made out of metal and are accented with glass flowers and shaped metal leaves. The work depicts imagery ranging from the activity of eating a blossom off a branch to the grim event of death.
The simplistic form of the bird leaves a lot for the imagination. Robin’s work consists of a smoother, more refined pallet with elegant, poetic imagery. A seemingly simple event can be forgotten, and transformed into a feeling, gesture, concept, or reaction.
Placing Linda’s work on a low pedestal in front of Robin’s wall mounted glass piece would contrast the viewers’ interpretations and expand the limits of conceptions evoked by the works displayed. Robin’s work, in comparison to ‘Remainder, produces the suggestion of movement, a feeling of abrupt action such as the swooping of a bird to catch that in-flight meal. As apposed to the slow meticulous, process of decay seen in Linda’s work, both are a necessity in order to have life. Natural sequences are a part of everyday being and in creating such a sequence and solidifying it in time invites the viewer to be enveloped by the environment that is created. Being able to have an unspoken conversation with a work of art is essential to get a meaning across. The meaning of the piece can vary because it allows the viewer room for interpretation.
Both artists bring forth the idea of an environment, along with the aspect of human interaction. I believe the idea of human interaction involves the sad, but true fact that humans, as a species, have caused a substantial amount of damage to our environment. Another piece in the series ‘Consumption’, Robin has used the same bird form but this time the piece is on the floor and there is a rusty railroad spike piercing through the bird. Both of these pieces can be inter-tangled with subtle comparisons. The bird eats and spreads the seeds, the plant grows and is nourished buy the decomposing corps on the ground next to it. Nature is morbid in a delightful way.
Another artist that caught my attention is Linda Sormin. The piece ‘Manerplaw’ 2003, is made from hand built earthenware and porcelain. This piece expresses a mass amount of movement with its extensive complex system of tubes branching out from the upper most part of the inter-tangled mass of textures and open voids that makes up the base. The glaze is vibrant in color and sporadic in the application. Colors range from red to blue in the color spectrum. All together, the piece as a whole is very organic in substance and in structure. To me, Sormin’s work reads as an interconnectivity of organisms, whether it be plant life, fungi, or an interpretation of a system of organisms.
Keeping to my underlying theme I have chosen a glass artist by the name of Tina Betz. Her work consists of linear three-dimensional sculptures that are made out of colored glass cane. The colored cane is made of stringers pulled from long slender sections cut from a pane of stained glass, in which she then torch works into shape with a hand torch. I have chosen her piece ‘Pears’. There are three life-sized pear shaped pieces in a row about an inch away from one another. The suggestion of the pear form is obvious, but instead of having a solid exterior surface, it is constructed with a geometric honeycomb pattern. The color is reminiscent of a natural pear and at the same time it has the distinct vibrancy of a honeycomb luster. The structural purpose of the pears is a clear homage to the flying insect that is essential to the reproduction of this and many other species of plants, which in essence is the basis of survival and life as we know it.
I chose both Sormin and Betz because even though these artists are using different mediums, they bring forth the same idea of interconnection of organisms. Sormin’s work is more about chaos and decay while Betz’s work is about a symbiotic relationship; the bee is required to pollinate the pear blossom in order for the pear tree to bear the fruit. Both pieces show an inter-connection of a matrix that makes up the visually stimulating lines. The ceramic piece speaks more of an alien or an organic interpretive structure. It is unsure of its purpose I approached the pieces with a slight hesitation. The pear has a fragility and coldness due to the material it is composed of, this also creates a cautious approach. On the other hand both structures speak of an underlying strength. If any part of the structure is taken away, the durability is lost and the structure begins crumbling to its demise. There is a need for every aspect to work together harmoniously to obtain the tranquility and chaos that is nature.
In the journal Andria Gursky and the Contemporary Sublime, the author, Alix Ohlin, states that “emotion can be caused by the grandeur of nature, but it can also be caused by a work of art. If the latter, because the artwork is a representation rather then a direct experience, the sublime could be mitigated. Once moderated, the sublime could transform itself-not into pleasure, exactly, but into “a sort of delightful horror. A sort of tranquility tinged with terror, (Ohlin, 23)”
After reading that quote, I felt Linda Huey’s and Linda Sormin’s sculptures worked well with that statement. They bring forth the fundamental question of, what is going to change in our environment, that hasn’t already? It makes people more aware of the natural beauty around us in everyday life. The unknown is a large aspect of the sublime. Leaving gaps to let the mind wonder invites a viewer more so then a complete set of exact answers.
The aspect of the Sublime is a difficult point to reach, in that many pieces of art never accomplish the full astonishment of the sublime. Making a piece of art that leaves the viewer in awe is a goal of many artists, and working to achieve that is an almost impossible feat. My goal in this exhibition is to show the complexities and fragility of nature embraced and interpreted by these artists. Arranging the work is an essential part in the development of the viewers’ interpretation of the exhibition.
In order to engage the viewer in a more mentally interactive way, I would have the ground in the entrance of the gallery space covered with sod that included a dirt pathway. Doing this will immediately bring the gallery space and the viewer to another setting. Instead of the quiet gallery atmosphere there will be sound pieces playing noises of wind and nature conversing as one. Transporting you to a more tranquil setting. Following the path the viewer will first encounter Linda Sormin’s sculpture ‘Manerplaw’ accompanied with Robin Cass’s wall mounted glass sculpture ‘Consumption’. A little further down the path will be Tina Betz’s pears. All of these works speak of an importance of the natural sequences that are essential for us to live as we do. Several other sculptures from these artists will be placed alongside this thirty-foot pathway. As the view progresses down the path, it will slowly transform. The grass will gradually turn to brown. The wind and the sounds of birds and running water will lessen and the apparent sound of automobiles and industrial construction muffles the once tranquil setting. Garbage and metal debris will take over the areas once covered in grass. Accompanying this well known affliction of our surroundings will stand the sculpture by Linda Huey ‘remainder’ and Robin Cass’s glass birds with railroad spikes askew on the floor, emphasizing the destruction of nature that humans are causing.
A huge part of my life is based in nature. I frequently enjoy going on long walks through the woods off the beaten trail to see what has gone unseen. I have also encountered the dismal sight of what excessive amounts of garbage and waist can do to the beauty of a landscape. An exhibition should engage the viewer and create another atmosphere detached from the hustle and bustle of the outside world and at the same time it should bring questions forward that are apparent in ever day life but are somewhat looked over.









• Andreas Gursky and the Contemporary Sublime
• Alix Ohlin
• Art Journal, Vol. 61, No. 4 (Winter, 2002), pp. 23-35
• Published by: College Art Association

Outside The Exhibition Space

Outside The Exhibition Space
Jordan Perez

The concept and origin of museums is a widely explored field with many interpretations and theories sprouting from its ideology. From the basis of this universal concept many offshoots and variations upon the museum theory have arisen and taken root in the art world as the conventional approach to displaying and interpreting one’s own art. Concepts such as the personal gallery space, public installation and sculpture gardens are all variations of this inherent establishment. However as with any derivative there are some deviations, some variations from an initial idea that define the alternate model. What I am choosing to explore with this exhibition is the subsequent meaning and intention of art outside the conventional space of a museum or gallery. These various alterations in the idea and the artists’ choice to display their art in such a space suggest their intention. One of the pieces of literature I chose to accompany this analysis is a book entitled Painters and Public Life in Eighteenth-Century Paris by Thomas E. Crow. This introduction to the book describes in detail the origin of the museum, the French Salon, a sort of festival of fine arts, and its transition from a being a private affair reserved only for upper class citizens to a general event open to all, from nobles to peasants. For those of the lower class viewing such art was a rarity only afforded to them a handful of times a year, therefore this newly publicized event held great significance and value to the class as a whole [1]. The main concept I gathered from this text was the idea of displaying art as a public venue and the various social hierarchies to which art has come to direct itself towards. I carry this idea further by questioning and examining the idea of the artist’s personal intentions and ideas versus the unintentional connotations of the art regarding the spaces in which it exists. Naturally one must first critically analyze and understand the concept of a museum and its connotations before attempting to interpret its offshoots. It is not erroneous to look at the idea of the museum as a precursor to all modernist exhibition venues.
The overarching theme common to the artistic works I chose is one of the intentional meanings of the artist when placing his/her art outside the conventional museum setting. When choosing the artist and his or her work I attempted to keep in mind the endeavor to convey a sense of conveying or commenting upon relationships between these spaces in a multitude of ways. One of the works I selected based on this criterion is a 1999 installation piece by MFA Roberley Bell titled “Locus”. This installation consists of two small areas (12'x12'x4') surrounded by a generic white picket fence. Inside the fenced areas is artificial turf and flowers on soil. The artificial flowers spell out the words “desire” and “regret” respectively. The entire piece is located in front a major national bank in Washington, DC [2]. The significance behind this particular piece is heavy and relevant.
To begin to analyze it I first looked at the media in which the work was created. A white picket fence is a powerful image that suggests themes of suburban life and the American dream. The idea of an ideal life in the mid nineteenth century commonly consisted of a small family with a modest ranch house in the suburbs, often surrounded by a white picket fence; therefore the image has become iconic of the sort of lifestyle it is associated with. However this image was a façade of sorts and attempted to create an idealized image of American life in contrast to the harsh reality of the cold war and the newly introduced concept of mutually assured destruction. The false turf and flowers in the piece perhaps assist this commentary upon the false pretenses of the era and its relevance today. The words desire and regret in conjunction with the work’s placement create a space which brings up the folly of notions of decadence of necessity in the American life style. According to Bell’s herself “Locus” deals with the relationship between the natural and artificial and the significance of creating a suburban space in an urban area. After performing this comprehensive analysis I could begin to look at the work as whole to better understand how it defies classical museum treatment and format. The location of the piece is the main factor behind understanding its message. By placing it in front of a national bank Bell adds another layer of meaning and intention behind the work, this piece is something that obviously relies a great deal upon location to infer to its own meaning. In my exchanges with the artist herself I was informed of some of her intentions and preconceived notions regarding the work. Environmentalism and ecology have come to play a large part in her work which seems to be only natural considering its placement in a naturalistic environment. Bell informed me that as a sculptor who regularly engages in the kind of practices which I find significant to my thesis she has come to view her work as an endeavor to contrast artificial constructions and their existence as a modern convenience to the naturalistic and perhaps “intended” aspects of material and its form [3].
The second work I selected to compliment my thesis is a mixed media piece by Launa Beuhler entitled “STOP” (48" x 48" x 4") made in 2006. The piece is essentially a very worn, weathered, and scratched stop sign over a blue background on which words “senseless violence”, “war”, and “hatred” have been inscribed and repeat [4]. The most obvious and apparent message being conveyed by this piece is, of course, a plea to end the practices of violence, war, and hatred. By using a stop sign Beuhler uses a widely known and practiced example of cessation and links it to these immoral actions in order to mostly clearly and forcefully convey her message as one of necessity as traffic stop signs are. The ragged and scratched surface of the stop sign suggests that it is an old and worn out message that has been over-preached and become jaded. The relation of this piece to my thesis is one of commonality, of a universal symbol and the designated location in which it exists in every day life. A stop sign is obviously something that exists in the realm of the outdoors, specifically the sphere of the street. The idea of commands, of the pervasiveness and authority of the law in regards to even simple actions. To be commanded to simply STOP in the most simplistic manner possible on such a frequent basis. All of these ideas are dependant on the concept of the contextual significance and intentionality of location. Naturally these kinds of contradictions and ideas can only exist and be explored in direct relation or opposition of the initial idea of a Stop sign; one must understand the origin of the idea before expanding or commenting upon it.
These two works, when viewed in relationship to each other under an overarching theme, represent a certain artistic objective in a sense. Both works attempt to create and delineate an idea thru their respective media. While Bell’s work seems to comment upon the façade of ideal social class in response to an imperfect world, Beuhler directly confronts those imperfections and flaws and responds in turn to them. When viewed together and in relation to one another these contrasting characteristics represent all sides of the common idea. When thinking critically about such art the question of what influences are acting upon it during its conception from an idea to a space, is the artist actively thinking about what a museum space is and what it offers and creating art that intentionally defies its conventions, or art that could only exist outside of museum. Relationship of the art to its surroundings, the conscious effort to create the context of the art in regards to its location is probably the most relevant relationship and is one of the main ideas I am focusing on. Consciousness of the size and volume of the work is something that is opened up to the artist. Most would consider these options of exhibition as entirely a positive aspect of the displaying of art; having a greater gamete of options always seems to be a wholly good thing, but there is a contrasting idea that counters this apparent win-win situation. The idea come from the base idea that art is something that exists through boundaries, whether it is genre or medium art is something that follows and greatly relies on the universal concept of classification to be understood. Following this idea one could argue that actions that destroy or stretch these boundaries in fact hinder the creation of art. To use a series of metaphors to describe this think of a person presented with an entirely blank white canvas, and the person simply stares at it, at a complete loss as to what to draw, or how a student writing a paper might stare at a blank document for half an hour without writing a thing, or how a person being recorded for test purposes is asked to say something and they simply say “something”. When presented with such a scene of limitless potential, one tends to draw a blank without any guidelines or rules to dictate or guide their decisions they are incapacitated at the sheer limitlessness of their options. In the case of the person being recorded we see that humans tend to grasp at any sort of instruction to command their actions.
The next work I chose to analyze is by artist Russel Semerau titled “Lights Out”. The piece is a small crank toy constructed of painted wood and brass and depicts a man and a woman engaging in intercourse, and when cranked the man moves in the motion of it [5]. This piece maybe be viewed by many as somewhat crass or crude, however I believe it creates a valuable and relevant message. The idea and practice of sex has been, for the most part, a generally private affair. However in recent decades sex has suddenly become a more global and uninhibited thing with modern day advertising and media overtly and relying upon it to capture attention and promote their message. In this sense even an intangible concept such as sex can be observed as having a “location” within society and culture. Similar to things such as cursing and displays of deep emotion, sex is or was commonly viewed as something inappropriate and out of place on the public stage. By creating this piece Semerau forces the act of sex out in the open to be viewed and analyzed. But how does this differ from the common sexual explicitness omnisciently present within our daily structure? The main difference, again, is intention, Semerau does not have such a transparent and obvious goal as the advertising market, what he is doing in fact is recontextualizing the act and notion of sex as something that tends to exist only in one’s private affairs. Naturally this effort is being supported by a great deal of forces already but Semerau is simply contributing to this. The fact that this work is in the form of a small toy also adds certain connotations to the piece, the idea that toys are for children contrasts with the notion that we are to protect them from things such as sex. This idea can also be attributed to my thesis if we think of these two concepts as existing separate from another which adds the connotation of location. This is one of several similar works by the artist. The work being part of a series also lends itself to the idea of mass culture. Susan M Pearce writes about applying the “nature of the theoretical structure” to a “particular range of artifacts” in regards to material culture and museum studies. This can be viewed as an inspection of the origin of artistic interpretation as Pearce draws comparisons to the distinctions between humans and “higher mammals”. Pearce then makes the logical leap to the ideas of language and creation, things existing and relevant exclusively to the human species and important to the artistic analysis [6].
The final work of art chosen to accompany the theme is a sculptural ceramic piece by artist Eddie Dominguez entitled “Red Torso”; its size is 18 by 24 inches which is essentially life-sized. The torso is meticulously decorated with ornate designs and depicts a sunset with flowers, butterflies and birds all of which are based on the red pallet. This work seems to glorify the human body, particularly the most essential part; the core of the body if you will. By creating such a whimsical and atheistically focused design on the torso Dominguez creates the association of the beauty of nature and its expression through the human body. The choice of color also plays a great part in understanding the significance of the piece. The color red carries many associations, the color of blood for example, it is a color often associated with passion or anger, two inarguably powerful human emotions. According to Dominguez’s website, he lives in an uncomfortable body due to a back injury and the idea of human discomfort plays a large part in his work [7]. This is interesting in that it brings to mind the idea of location and contextualizing in regards to our own human bodies. The idea of work being an outlet or a means to transcend our own location outside our own conventional space (the body) is very interesting but not entirely new. Frida Kahlo immediately comes to mind as something that corresponds to this idea. The self portraits she created act as a form of self realization as well as an escape from the limitations of ones own inescapable condition
The relationship between these two works of art is culturally prevalent and there is value in delving deep into the symbolism and iconography intrinsic to them. A precursory glance at the two objects finds the common factor as the human body and its representation. Both pieces attempt to convey a certain sense of values or manner of thinking which, by themselves create an interesting analysis, but together achieves a commonality and scope far beyond the individual work. The manner in which the human body is portrayed is something of interest between the works. Two bodies interacting with each other in the act of mating suggests both a primal necessary behavior but also something that has come to hold more meaning as humans have evolved. The notion of love and sentimentality in relation to sex is something that has been “added” over thousands of years. That is to say the association of love with sex is not intrinsic to the action, but has come to seem that way. The simplicity in which Semerau portrays the action of it heralds back to that primal, unemotional action while perhaps commenting on the folly of the repressive nature of sex as a cultural idea. While Dominguez’s work is in itself merely a portion, a section of the human body on which aesthetic designs have been drawn. The red color, its association with passion can relate to the sexuality of man along with its simple and open portrayal of the body which seems to idealize and represent the bearing of ones body for all to see.
Essentially all these works as I have investigated them, contribute to the idea of contextualization. Sexuality, ideology, intellectualism, of all these ideas, while abstract, operate under the notion of contextualization, the idea that something can only be observed and understood when compared to something else is the basic notion behind the action of contextualization. The questions are raised, “is it in human nature to contextualize all aspects of life?”, and “is classification the only means through which humans can understand something?” “How does the physical location of the piece inform me of the intention behind it as well as its relation to the rest of the world?” I believe these works contribute important evidence in contribution to these ideas and further contribute to the unending debate of definition and contextualization of art and life.
The exhibition that will support this thesis is an integral aspect in understanding the theories and ideas I have discussed so far. Naturally in relation to my thesis the exhibition is something in which a great deal of intention towards even its smallest aspects must be given. The self-referential nature of my thesis is an important catalyst to generating the kinds of thoughts and questions I want to instill in the viewers of the space. My ultimate choice in designing the exhibition space in a more conventional gallery-type setting may seem hypocritical to some I ultimately believe it to be the right choice, after all my exhibition is meant to comment upon non conventional art contextualization and my choice in design and location is the most effective way to do this.
Basically the entire space would exist in a large room about 14 by 18 feet with a separator/pillar placed in the center of the room that directs traffic in two directions as well as acts as a space to display work. The pillar in the center of the room also creates the state of two paths that a person can follow to go deeper into the space, this effect is something valuable I believe because it contradicts the linear nature to which the space initially creates and many spaces rely on. Also the entrance to the space would be narrow enough that only one person at a time could fit through it, effective directing the flow of people into a single line. The reason for this is because I want the experience of viewing the exhibition as a personal thing, by reducing the traffic of the entering spectators to a line one would entering the space as an individual. This would only be true for the entrance to the exhibit as I wouldn’t want the space to be crowded and uncomfortable Naturally I wouldn’t have direct control over the exact architectural layout of the room but something similar to this would be ideal. Two ceiling mounted lights would directly illuminate the side of the center section facing the entrance on which a short description of the exhibit would be posted for entering people to view. In the back corners of the space would be 2 frames mounted on some kind of stand that would display the work Roberly Bell and Eddie Dominguez. The reason for the mounting of the images is simply to create an interesting space to capture attention. The back of the pillar would display the work of Russel Semerau and Launa Beuhler. The overall flow of the space corresponds to the impartial and nonlinear nature that art of this context can take. (Cones represent ceiling mounted lights)
My submission to wikipedia is an addition to topic of the contemporary art gallery [8]. Basically I altered the central definition of the concept under the main heading on the page to include a mention of art existing outside the conventional gallery. I also added an additional example of such art to the existing list.
“Conversely, some works of contemporary art are not shown in a gallery. Land art, performance art, Internet art, mail art and other new forms also usually exist outside a gallery. Photographic records of these kinds of art are often shown in galleries, however.”



Bibliography
Crow, Thomas E. Painters and Public Life in Eighteenth-Century Paris. New Haven, London: Yale University Press, 1985.
Dominguez, Eddie. “Cultural Landscapes: The Art of Eddie Dominguez”. 2008. 4 October 2009.
Beuhler, Launa. “Objects”. 4 October 2009.
Bell, Roberley. “Locus”. 2009. 4 October 2009. <>
Karp, Ivan, Lavine, Steven D., eds. Exhibiting Cultures: The Poetics and Politics of Museum Display. London, Washington DC, Smithsonian Institution, 1991.
Pearce, Susan M., ed. Museum Studies in Material Culture. London: Leicester University Press, 1989.
Footnotes
[1] E Thomas, Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven London: Yale University Press, 1985) 1-22.
[2] http://www.roberleybell.com/proj-06.html
[3] Roberly Bell, e-mail message to author, December 4, 2009
[4] http://www.launabeuhler.com/pops/6Stopbig.html
[5] http://www.liveauctioneers.com/item/4307597
[6] M. Susan Pearce, Museum Studies in Material Culture (London: Leicester University Press 1989) 47.
[7] http://www.tfaoi.com/aa/8aa/8aa104.htm
[8] http://en.wikipedia.org/wiki/Contemporary_art_gallery

“Self Portrait: Capturing a Moment in Time”

Since the Early Renaissance art period, artists have been creating Self Portraits. They are a vital part in the history of art, as well as current art practices. Self portraits have changed throughout the years, from the exact physical replications of the past, to the interpretive, abstracted self portraits of today. Two Alfred MFA graduates who presented their thesis shows in 2009 utilized abstraction and narrative to portray themselves in their work. Jenna Efrein and Jessica Cappiello will be featured in an exhibit featuring their self-portraiture, opening December, 2009.

The first piece I chose for this exhibition was Jenna Efrein’s “Dissolution Threshold-Puddle” from her MFA show last year. The piece portrays a figure, seated in a hunched over position, resting its side and head against a wall, almost cowering against it. The figure is made entirely of blown glass teardrops measuring approximately three to five inches in length, that were slightly flattened, then tack fused together in a kiln so that the back resembles a figure. The front of the piece is a mass of teardrop shapes tacked together to create a single figure-shaped plane that establishes an appealing texture. These same glass teardrops are arranged in a meandering line of varying thicknesses that appears to be going towards the figure. Those closest to it have been manipulated so that the point is rising up to meet the figure, almost as if they want to climb up onto it. The arrangement of this piece gives it a somber yet hopeful feeling, while the clear, fragile-looking glass gives it a certain weightlessness that it would not have, had it been constructed with any other medium. This installation as a whole speaks of deep sadness; the teardrop shapes are in fact meant to be taken literally, and the figure's body language shows her weakness and desire to just melt into the wall and not be seen.

In her thesis paper, Jenna describes this piece as showing how she can “lose [her] sense of place in the world except to where [her] sadness is spilling out all over the floor.” This intimate portrayal of her emotions is a sterling example of her work as a whole, and her use of self-portraiture in her work. It is a lovely description of a brilliant piece of art that speaks of profound sadness to all who view it. [1]

In a recent interview with Jenna, she reflected upon her show as a whole. She stated, “The process of making the work and its completion was cathartic for [her].” She uses her artwork to get a part of herself out to the public in order to accept and move on from that moment or feeling. It is a powerful way to make art, affecting both artist and viewer so profoundly. She also states, “So much of my work is emotionally connected to myself and life circumstances that it takes months to years for me to fully understand the ramifications of what I have done. I am constantly evolving and moving forward and nothing I do and then reflect upon is the same as from its initial inception. There was almost nothing triumphant about my show for it was all about enormous amounts of pain and discomfort.” I have to disagree with the fact that she felt no triumph. I believe that there is something major to be celebrated about her being so incredibly brave and open with her feelings. It had to have been incredibly difficult to even think about doing, and she accomplished it.[2]

The second piece I chose, also from last year’s MFA thesis exhibition, was one of Jessica Capiello’s. Her piece consists of solid, kiln-cast spools that have been apparently sandblasted to a soft translucent finish and arranged on the gallery floor. Around these spools she has wrapped white thread to cover all but the ends. The threads were then attached to tiny holes in the wall to spell out a hidden word. This piece seems to create a feeling of tension in the viewer, caused by the tautness of the strings. It also portrays weight in an interesting way; the spools seem very dense and heavy, almost dragging the piece down, while the thread is fine and delicate-looking, though it can withstand the weight of the spools. This adds a vulnerable yet strong quality to the piece.

In her thesis paper, she tells a story of how throughout her life she has been surrounded by thread and yarn, and how her life began to revolve around the stories this material has brought about. Her piece speaks of this connection, and her desire to “stitch these stories into [her] body.” [3]

During her MFA show, Jessica watched many viewers have a moment of epiphany upon reading the title card for this piece. It stated what the thread was arranged to spell, which allowed for deeper insight into the piece that we currently do not have. However, I do recall the title card having to do with a personal experience that Jessica wanted to portray subtly through the piece.

Jenna and Jessica’s work would show well together in an exhibition of glass. Though they are very similar in many aspects, they are different enough as a whole to create an interesting arrangement. These two pieces have very similar footprints, with the individual parts placed on the floor to create a randomized, elongated mass of objects. They both use the materials very effectively, in completely different ways. Jessica uses cast glass in a very traditional way, but manipulated it to create a non-traditional piece, where Jenna took the traditional blown glass forms and used them in a non-traditional way by tack-fusing them. Much of Jenna’s work is done as a literal self-portrait, or as she referred to it in an interview, “self reflection”[4]; the figure in this piece seems to represent her, as do the other pieces in her MFA show (“Strain Fracture-Cracked,” and “Within the skin,” represent her figure, “Within the Skin” being a piece that she physically performed.). Jessica, however, is more subtle and figurative in portraying herself in her work. Instead of creating a replication of her physical self, she portrayed herself abstractly.

In short, the theme that encompasses Jessica and Jenna’s work is self-portraiture, specifically capturing a moment in time. Both Jessica and Jenna are narrating a specific story to the viewer that provides insight into who they are and how they think. Jessica’s portrait is of a particular event, where Jenna’s is of a feeling she had at one time, and how that feeling progressed.

Although vastly different in appearance and material, I believe that Antony Gormley’s work would show well with Jenna and Jessica’s. He creates work that is not a portrait of himself necessarily; it is a portrait of those who contribute to his art. In one of his pieces, “One & Other,” he was commissioned to install a piece in the Fourth Plinth in London. He created a web program that selected people from all over England to have “their hour upon the stage.” This “group portrait” is a stunning piece where 2,400 Britons had an hour to do with whatever they wanted. They ultimately performed a portrait of themselves, which, all together, created a portrait of Britain as a whole.[5] Another one of his pieces that will not be included in this exhibit for space reasons, “Field” consists of 40,000 primitive-looking ceramic figures produced by members of a town. Each one is a portrait of whoever created it; not an exact rendition, but they seem to take on the personality of the community as a whole. [6]

The space that these pieces occupy will have to be large and open to allow space for the grand installations that these artists create, as well as the performance aspect, but small enough to get the sense of the vastness and beauty of the individual parts. Upon walking into the gallery space, viewers will be confronted by a spin off of Gormley’s “One & Other;” a large stage with one person performing anything they wish upon it. The performers will be selected randomly from the attendees and gallery staff throughout the exhibit. Each will receive their 30 minutes of fame upon the stage. There will be two smaller rooms to each side of the stage, one housing Jenna Efrein’s piece, the other housing Jessica Cappiello’s. I believe that they need to be shown in separate rooms because I feel that the similarities in material and layout would confuse viewers if they showed in the same room.

---

[1] Jenna Efrein, Master’s thesis, New York State College of Ceramics at Alfred University, 2009.

[2] Jenna Efrein, e-mail message to author, December 6^th, 2009.

[3] Jessica Cappiello, Master’s thesis, New York State College of Ceramics at Alfred University, 2009.

[4] Jenna Efrein, E-mail message to author, December 6^th, 2009.

[5] Marcia E. Vetrocq, “Who’s on Fourth?” Art in Averca, (October ’09) 2

[6] Ina Cole, “The Relationship Between Thought and Matter, A Conversation with Antony Gormley,” Sculpture, April 2003, 43-9

Reconciliations: Art-Tech Visualization Systems

Curator: Daniel Vuono

Wall Text:
The act of reconciliation can be seen as bringing things together. Reconciliation does not demand progress through joining, but simply that two fields must be mutually acknowledged. The pervasive presence of science and technology in popular culture has been recognized since the heralding of the atomic age. The artists represented have chosen to reconcile science and technology into their own visual systems. Artists are not charged with the duty of reconciling the arts with technology; however they have the unique position to be critical of the union, present it as progressive, or be indifferent. These works investigate different visual systems of art-tech reconciliation and how each exposes different uses of the art-tech relationship.

Object Checklist:
Ron Lambert: “Salicylic” - 10 aspirin branches
Albert Pfarr: “Twins” - 2 ceramic column structures
Shawn Spangler: “Productive Spectator” - steel table, steel shelf, wheel thrown ceramic units, two lights, webcam, computer, projector.
Benjamin Peterson: “I Can Do It Two Ways” - 2 LCD screens.

Exhibition Essay:
Currently academic programs are primarily ruled by the practice of specialization. Academic paths are typically directed towards precise goals with little deviation in variety.[1] Oddly however, Hugh Aldersey-Williams points out, “Leonardo da Vinci was the archetypal designer scientist, the renaissance man whom we unreasonably hold responsible for our contemporary expectation of such a synergy.”[2] Past history shows the existence of influential groups with members from vastly different interests. Groups such as the Lunar Society with chemist Joseph Priestley, steam engine pioneer James Watt, and industrial potter Josiah Wedgewood.2 This group fostered a unique relationship where one studied reactions, another studied the output of reactions, and the third used products of reactions to create visual art. While the interdisciplinary movement seems to be growing, there still remains a great divide between artistic and technical fields.[3] Out of this divide can come art that can either support the synergistic relationship of technology and arts, or art that challenges technology by representing it in a critical light.

The majority of art we encounter is visual. In general, viewing art is much more accessible than viewing the inter-workings of science. Because of this visualization plays a powerful role in science, it allows us to understand abstract phenomena that we can not see. More interestingly much of this scientific visualization is only a metaphor for our understanding but does not describe what is actually happening. Curiously these visualizations are rapidly absorbed into popular culture as symbols of progress through technology. A good example of this is the Eames hang-it-all rack that bares resemblance to atomic models. The advent of nuclear technology brought a surge of excitement through culture. The public was exposed to the idea of the atomic level and atomic diagrams. The hang-it-all “was sufficiently distant from the molecular models used in classrooms and laboratories not to emphasize connections with the ‘real’ world of science, let alone the atomic bomb, but to still appear novel and progressive.”[4] Popular icons such as the hang-it-all make science seemingly accessible to everyone, however they are fetishized and one sided in their presentation. It is not necessary for artists to couple science and technology in their art to promote progress. Many artists will chose to use their reconciliation to promote questioning of accepted popular culture practices.

Ron Lambert is a sculptor exploring the idea of the sublime. Lambert is interested in how medical technologies, specifically pharmaceuticals, are accepted in our culture. He presents the idea of the techno-sublime; “This theory involves the realm of technology and medicine as having an overwhelming part of our lives and therefore involving itself in the revised notion of the sublime.”[5] Lambert strives to expose why medical technologies have become part of the sublime. “Petry dishes, stainless steel grids and rows put our minds at ease, giving us comfort that the problem is being solved properly. This sense of comfort allows for a scientific sublime.”5 Lambert’s struggle is exposing the changes and losses of traditions that have occurred through our acceptance of new medical phenomena. This idea of the pharmaceutical sublime is not new and has been explored by novels such as Aldous Huxley’s “Brave New World”, and recently in the pop art world by paintings of Damien Hirst.

Lambert’s work “Salicylic” is a simple organized installation. Across two corners of a white wall hang white branch structures suspended from steel rods. The branches are recognizable as willow branches but are evidentially not real willow branches. They dangle downward with gravity appearing fragile and move in slight winds. The space exudes a calmness and sterility that is obviously intentional.

It is not until one reads the title plaque that they realize the willow branches are cast with aspirin. The material choice is the driving catalyst for Lambert’s message. Willow bark contains salicylic acid, the active chemical in aspirin. Historically salicylic acid was derived from willow bark. Lambert’s installation is attempting to expose the idea that this traditional information has become lost in our acceptance of our pill induced relief.

I find specific choices in Lambert’s visual system to be particularly effective. Lambert chose to ignore the trunk structure and display individual branches. I feel he does this intentionally so we recognize “willow branch” and not “tree.” Further the branches are displayed as multiples. Lambert asserts that our culture is already overloaded with multiplicities and suggests “It seems one can either make work visually opposing the idea of the multiple or use it to discuss what could be an aesthetic of our time.”5 I think Lambert is challenging “progress” and showing that there are other effective alternatives. His action seems timely in an age where pharmaceutical advertisement on television is grossly abundant. When asked Lambert admitted that his work is moving away from dealing with science. He felt that to really address science well he needed to actually learn the science.[6] I can respect this viewpoint, and it shows me Lambert understands the power of scientific images in art. While Lambert’s work asserts through his visual display that scientific evolution may not always be progress, other artists reconciling with technology make work that is potentially indifferent in its message and does not criticize technology, or support its progress.

Albert Pfarr is a ceramic artist who creates organized modular systems of construction. Pfarr builds large towering columns with evenly spaced voids for individual modules to slide into. This peg and hole construction allows the pieces to be organized but also have innumerable permutations. The works bare a strong resemblance to molecular or biological growth. The constructions appear as if they are self assembling or receptive to evolution. The scale of the work is very important. The pieces are 8 to 10 feet in height transforming the micro-level to the macro-level. We are not inspecting this world of growth and arrangement but are immersed in it.

The reference to biological sciences is obviously apparent in Pfarr’s work. However, the reference does not appear to be a motivator for a message. The work is indifferent to its subject matter. It does not usher hope and progress of new biological research, it is simply organized in a similar way. The work is also non-threatening. Despite the large scale, the pieces are friendly and able to be interacted with. The simple installation method does not allude to any comment or critique of modern scientific processes. Pfarr’s reconciliation with science and technology creates a visual system that is inspired from things we know, not things we do. He is imitating systems that are naturally occurring instead of making art about stem cell research and genetic engineering. The art remains neutral while still being referential to the microscopic level of the natural world.

Pfarr is entirely aware of the reference and neutrality of his work. As a method of making he strives for systematic methodologies. Pfarr acknowledges the references to biological growth, cells, and particles in his work. He recognizes that he is inspired by how atoms can combine in countless ways and relates it to our human systems of knowledge such as language and symbols which we combine for infinite meanings. However he insists upon the mystery and neutrality of his work by saying, “Still there is always mystery concerning the origins and continuation of life. That is why these pieces remain non-representational.”[7]

Pfarr’s work also explores viewer interaction with visual systems. The viewer has the ability to change and rearrange the work. This engagement allows for a personal dialog between the viewer and the work. The work can begin to mean something different for each viewer as they adopt their own slight feelings of authorship. Artists are further exploring the idea of how view interaction can affect and inform their visual systems. Interactive systems can potentially breathe life into stagnant practices and enrich both the viewers and makers experience.

Stereotypical display of pottery has limited options. Pots are usually looked at on shelves or on pedestals. Obviously artists will want to question this practice and evolve new ways to showcase work. Shawn Spangler is a young potter who employed an interactive environment that makes his work semi self sustaining. Shawn created a visual system that transforms the gallery from a subjective place to an empirical place.

Spangler’s work “Productive Spectator” is exhibited in the dark. An industrial stainless steel shelf and table sit next to one another. The table is empty with two lights pointing towards the center. A video projection appears on a nearby wall. The shelf is filled with small thrown ceramic forms. The viewer is invited to pick and choose from the objects on the shelf and build stackable objects on the steel table. As they play with the forms they are both recorded and projected. Shawn uses the subsequent recordings by choosing user built forms to execute on the wheel as final pieces.

Spangler’s material choices in his display push forward a few issues. The stainless steel setup looks much more likely to be a laboratory than a gallery. The dramatic lighting and recording of the process also elevates the importance of the process. Images of science, including scientific materials has a profound effect on our interpretations. “Beyond the visual, images of science have merely metaphoric power, typically communicating a sense of progressiveness and optimism through objects that adopt them.”2 By placing the pottery in this scientific situation it seems as though the work may be progressing or changing the future of pottery. While this notion may not be accurate or fair, Spangler’s work taps into a dialog about technological progress. We must receive this work with caution. Inspirations stemming from science have no greater importance than any other inspiration from history or other arts. We must recognize that there should not be evolutionary hierarchies and that technological progress can be a skewed narrative.[8]

Spangler’s reconciliation is interesting because whether it was intended or not, the work presents itself as a potentially better system for making pottery; that is if the technological narrative takes precedence. Spangler’s work involved interaction through viewer participation. In this way his use of technology is mediated by the public and he is not himself interfacing the technology. Ben Peterson is another young potter who is challenging the notion of how we make pottery and what impact recent technologies can have. Rather than having a mediated experience Peterson has a direct interaction with the technology he employs.

Peterson’s recent work in progress “I Can Do It Two Ways” involves two practices. The first is a motion tracking computer program that allows him to throw virtual vessels in the air and save the resultant image. The act is performed in front of a projection and the image can be tossed upward in the computer display to the image bank. The second practice involves Peterson throwing these saved forms on the wheel and then throwing them up against a wall and shelf in the studio.

Peterson’s reconciliation is different than Spangler’s. While he is recreating pots from images, the images are the product of his own direct interaction with technology. In this sense the translations to clay are wholly his own. Further Peterson’s work has an element that exists only in the ether. The computer software is an exciting way to see potential results without using or wasting any materials. It allows for instant visual feedback of ideas. Peterson’s project is timely in the age of rapid prototyping. His reconciliation proves the flexibility of the potter to embrace new technologies and use them to their benefit. We still must not be misled into thinking Peterson’s approach is a better way to make pottery because of the technological involvement, but we should be excited by the possibilities and their application in many other fields.

All of the artists presented in this exhibition reconciled with technology for different means. However some of the methodology remains related. The sterile nature of Lambert’s and Spangler’s installations references the scientific sublime that Lambert was commenting on. Also, the use of interaction in visual systems was seen in three of the four works. Lambert shows us to be cautious of the technological progressive narrative, while Spangler and Peterson seem to embrace it. Pfarr acknowledges his inspirations from biological science but does so non-representationaly to avoiding the scientific hierarchy dilemma. These reconciliations affirm the power of the art-tech relationship and propose that the artist is indeed in a unique position to choose how to exploit this relationship.

Works Cited
[1] C. P. Snow. “The Two Cultures,” Leonardo 23 No. 2/3 (1990): 169-173
[2] Hugh Aldersey-Williams, Design and the Elastic Mind: Applied Curiosity (New York: Museum of Modern Art, 2008), 47.
[3] Mark Tribe, Directory of Art and Technology Programs (Brown University, 2009, accessed 4 December 2009); available from https://wiki.brown.edu/confluence/pages/viewpage.action?pageId=13017
[4] Pat Kirkham, Charles and Ray Eames: Designers of the Twentieth Century (MIT Press, 2001), 162
[5] Ron Lambert, Masters Thesis, New York State College of Ceramics at Alfred University, 2004
[6] Ron Lambert, email message to author, Nov 30, 2009
[7] Albert Pfarr, About Me (accessed 4 December 2009); available at http://www.albertpfarr.com/About%20Me.html
[8] Christina Cogdell. “Design and the Elastic Mind, Museum of Modern Art (Spring 2008),” Design Issues 25 No. 3 (2009): 92-99

Wikipedia Entires:

Ron Lambert - Salicyclic Acid - Other Uses

Albert Pfarr - Self Replicating Peptides - External Links

Benjamin Peterson - Pottery - Forming - I think Wikipedia denied my adition of virtual forming. I don't want to post a picture on there to prove it though because Petersons work may be a work in progress.

The entry read:

Virtual: Benjamin Peterson has created a motion tracking software applications that allows the throwing and recoding of vessel forms in the air. The images can be saved and later translated into clay by the artist. This shows a coupling of traditional ceramics with new technologies of rapid prototyping.

Artist Websites:

Ron Lambert

Albert Pfarr

Shawn Spangler

Benjamin Kyle Peterson