The four artists to be examined for this week have really got me to thinking about space and how we, as artists, utilize the space we have to work with.
Matthew Richie takes his instillation Games of Chance and Skill and collaborates with architects to integrate his work into the architecture. Arturo Herrera, in his interview talks, is asked why he reworked his piece , Les Noces, so dramatically. Herrera responds that the venue which the work was first exhibited held a six-channel projection and was in a room designed so that the viewer could view the projections as well as other works. The second exhibit only had two projections and editing was handled much differently. Herrera explains, “I wanted slower sequences and many more images so the viewer could find recurring motifs within the exhibition.” Both Jessica Stockholder and Fred Wilson admit to working intuitively after looking at the space in which they exhibit. It is interesting to me that art can change dramatically from one exhibition to another. Factors, such as how many entrances a room has, to lighting, to the country or state that your exhibiting in can have a tremendous impact on the outcome of the work.
11.11.2008
Nadia's Revised Artist Statement
The intimate, spiritual, and sublime are what inspire my art. Photography allows me to better understand my existence and my reality. With my camera, I blend reality with the fantastic. With careful use of light and subject I combine the concrete with its ethereal potential. To me my work is not only about recording, but also creating something completely new. I experiment with different personas and layer my compositions playing off of my human subjects. I always have a direction and purpose; however, on execution I work quite intuitively to bring about the mysterious and unnoticed through the portrayal of humans and their relationship to life.
Nadia's Gallery Review on COSM
The Chapel of Sacred Mirrors (COSM)
Alex and Allyson Grey
542 West 27th St, 4th Floor
I was first introduced to Alex Grey sometime last year from a close friend who had stumbled upon his work. I immediately became intrigued by the paintings. I did some of my own research, and made it my mission to see this fantastic art sanctuary in person. Going to COSM was of course far more amazing than seeing any photograph. I walked in and was surrounded by a series of paintings that examine anatomy of the body and soul. COSM affirms universal spirituality and aims to provoke viewers to see themselves as reflections of the divine. The gallery was set in four main rooms.
The Chapel of Sacred Mirrors
This was the first room I entered. It consisted of 21 framed mirrors which ranged from representations of the human body’s physical anatomy to complex energy systems. Alex Grey focuses his work toward the Chakras or the streams of energy that permeate from the body. His paintings depict a colorful and VERY detailed description of these etheric auras. It is quite compelling to see these images. I feel that they created a type of unity among all race, class, and gender differences.
The Yellow Room
The Yellow Room exhibits human relationships and passages in the cycle of life. The paintings are done in a similar fashion as several of the ones included in the Chapel except that they possess gestural qualities. For example, one entitled ‘Birth’, shows much of the cardiovascular system in vibrant yellow, reds, and blues as well as Tibetan syllables signifying the mother as a birthing Buddha. There is a great sense of eastern religious influences in the work. However, Alex seems to make it quite comprehendible to viewers who might not be familiar with some of his references by including detailed descriptions next to the paintings.
The White Room
The White Room contains paintings that depict the mind coming into consciousness or enlightenment. ‘Theologue’ is perhaps the largest in the room. It’s 180 x 60 inches and it portrays a figure in standard meditative pose. The same etheric aura’s portrayed in the Chapel of Sacred Mirrors are shown are a much larger scale and follow a grid-like pattern across a horizon. Next to the painting reads “During deep meditation, I entered a state in which all energy systems in my body were completely aligned and flowing”.
The Black Room
This was by far my favorite room. As beautiful as the paintings are in the exhibit, there is a shocking reality in The Black Room that brings you back to earth as you re-enter the world as it is. Alex leaves this room in the back of the gallery. It is meant to be viewed last. Three large paintings fill the room, but the one which stood out most to me was the one entitled Gaia. Ridiculous is not the word! Alex claims that the painting is based off of a vision that he had the day his daughter was born in 1988 and was painted in 1989. On the left is world as paradise with beautiful bright colors. The right side shows the destruction of humanity and the web of life. Especially intriguing about the right side of this painting, (which others have pointed out after September 11th is that there are two airplanes flying over the twin towers and figure that very much resembles George Bush in the foreground with a “Dick” embracing a terrorist.
I don’t know, but there’s definitely something going on with this Alex guy.
I STRONGLY recommend this gallery next time you’re in Chelsea.
Alex and Allyson Grey
542 West 27th St, 4th Floor
I was first introduced to Alex Grey sometime last year from a close friend who had stumbled upon his work. I immediately became intrigued by the paintings. I did some of my own research, and made it my mission to see this fantastic art sanctuary in person. Going to COSM was of course far more amazing than seeing any photograph. I walked in and was surrounded by a series of paintings that examine anatomy of the body and soul. COSM affirms universal spirituality and aims to provoke viewers to see themselves as reflections of the divine. The gallery was set in four main rooms.
The Chapel of Sacred Mirrors
This was the first room I entered. It consisted of 21 framed mirrors which ranged from representations of the human body’s physical anatomy to complex energy systems. Alex Grey focuses his work toward the Chakras or the streams of energy that permeate from the body. His paintings depict a colorful and VERY detailed description of these etheric auras. It is quite compelling to see these images. I feel that they created a type of unity among all race, class, and gender differences.
The Yellow Room
The Yellow Room exhibits human relationships and passages in the cycle of life. The paintings are done in a similar fashion as several of the ones included in the Chapel except that they possess gestural qualities. For example, one entitled ‘Birth’, shows much of the cardiovascular system in vibrant yellow, reds, and blues as well as Tibetan syllables signifying the mother as a birthing Buddha. There is a great sense of eastern religious influences in the work. However, Alex seems to make it quite comprehendible to viewers who might not be familiar with some of his references by including detailed descriptions next to the paintings.
The White Room
The White Room contains paintings that depict the mind coming into consciousness or enlightenment. ‘Theologue’ is perhaps the largest in the room. It’s 180 x 60 inches and it portrays a figure in standard meditative pose. The same etheric aura’s portrayed in the Chapel of Sacred Mirrors are shown are a much larger scale and follow a grid-like pattern across a horizon. Next to the painting reads “During deep meditation, I entered a state in which all energy systems in my body were completely aligned and flowing”.
The Black Room
This was by far my favorite room. As beautiful as the paintings are in the exhibit, there is a shocking reality in The Black Room that brings you back to earth as you re-enter the world as it is. Alex leaves this room in the back of the gallery. It is meant to be viewed last. Three large paintings fill the room, but the one which stood out most to me was the one entitled Gaia. Ridiculous is not the word! Alex claims that the painting is based off of a vision that he had the day his daughter was born in 1988 and was painted in 1989. On the left is world as paradise with beautiful bright colors. The right side shows the destruction of humanity and the web of life. Especially intriguing about the right side of this painting, (which others have pointed out after September 11th is that there are two airplanes flying over the twin towers and figure that very much resembles George Bush in the foreground with a “Dick” embracing a terrorist.
I don’t know, but there’s definitely something going on with this Alex guy.
I STRONGLY recommend this gallery next time you’re in Chelsea.
Cody and Friends- Weekly Write-up
Arturo Herrera is not so much a creator but an arranger. He takes found objects and creates new one with them, or uses them in installations. The viewer can focus on the object and its history, or chose to see it as part of a larger image and how it interacts with surrounding objects. He takes care to choose each piece intuitively and for the betterment of his concerns in the specific site. Herrera takes objects and manipulates them. He utilizes his experience in glass blowing to further his work and give it an extra element to be considered. The fact that he has a multicultural background influences his work greatly. He incorporates this into his black “drips” that he feels represent teardrops and caricatures that mimic what African Americans have been stereotyped as.
Fred Wilson has beautiful and intelligent work based on collaging. It is interesting that he claims his work developed this way due to lack of financial support for his artwork. He takes found material or makes his own and manipulates them through photography, paint or physically with scissors to create a new object that can be placed with others. This mirrors what Arturo Herrera does in his museum installations. Wilson is interesting to me for his use of line and color to create nonrepresentational two-dimensional forms.
This is also the case with Matthew Ritchie. I find his paintings and colorful installations almost hypnotic in their presence. Though the concept is very well thought-out and process very impressive in his large-scale metal work, I am drawn to his color scheme and delicacy of line in the other bodies of works. The story behind his work is quite interesting, but I feel it is something personal to him and important to his work in a private fashion.
Jessica Stockholder also uses found objects in her installations. She focuses on color and industrial material, such as plastic, and transforms the object to fit her needs. She said in one interview that she sometimes doesn’t want to use objects that are completely recognizable, but that have a vague recognition about them. She says in her interview that her work arrives in the world like an idea into one’s head. This thought is extremely abstract, much like her sculptures, but makes a lot of sense. It doesn’t necessarily hold a huge comment on things like socialism or whatnot, but it blooms into existence and is experiences by others.
Fred Wilson has beautiful and intelligent work based on collaging. It is interesting that he claims his work developed this way due to lack of financial support for his artwork. He takes found material or makes his own and manipulates them through photography, paint or physically with scissors to create a new object that can be placed with others. This mirrors what Arturo Herrera does in his museum installations. Wilson is interesting to me for his use of line and color to create nonrepresentational two-dimensional forms.
This is also the case with Matthew Ritchie. I find his paintings and colorful installations almost hypnotic in their presence. Though the concept is very well thought-out and process very impressive in his large-scale metal work, I am drawn to his color scheme and delicacy of line in the other bodies of works. The story behind his work is quite interesting, but I feel it is something personal to him and important to his work in a private fashion.
Jessica Stockholder also uses found objects in her installations. She focuses on color and industrial material, such as plastic, and transforms the object to fit her needs. She said in one interview that she sometimes doesn’t want to use objects that are completely recognizable, but that have a vague recognition about them. She says in her interview that her work arrives in the world like an idea into one’s head. This thought is extremely abstract, much like her sculptures, but makes a lot of sense. It doesn’t necessarily hold a huge comment on things like socialism or whatnot, but it blooms into existence and is experiences by others.
James G: Ritchie, Wilson, Stockholder, Herrera
The artists this week are very diverse, but clearly have some comment themes. Matthew Ritchie is a painter and sculpture who has a complicated mythos that he has constructed about the history of time and the creation of the universe. Using 49 different characters, he has an internally consistent storyline that describes and explores our understanding of time. He has massive computer drawings that manifest themselves in paintings, wall installations, and large metal sculptures. Abstract but still with a concrete story, Matthew Ritchie is a postmodern artist with grand ambitions and a keen intellect.
Fred Wilson is famous for rearranging artwork in museums to change the meaning of the work and question the historical context of the collection. His most famous work “Mining the Museum” in 1992 rearranged the pieces of a Maryland museum’s collection. When he was done, questions about Maryland’s relationship to Native Americans and slaves were apparent, and many of the pieces interacted to create a sort of narrative. Like Matthew Ritchie he is using narrative to comment on something hidden beneath the surface, in this case the work of the museum. His critique of the museum establishment is a postmodern idea.
Jessica Stockholder is a sculptor who uses lots of junk to make what she often describes as some sort of sculptural paintings. Plastic, chairs, lawnmowers, and all sorts of things are all thrown together in a way that compliments the space she is working in. Sometimes she uses large scale installations, other times smaller collage on canvas, and everything in between. Also exploring ideas of postmodernism, her sculptures are abstract in an opposite way than Matthew Ritchie. Her sculptures are abstract in a way that works purely about form and content, rather than some underlying narrative.
Arturo Herrera works like Jessica Stockholder in the way that he is taking found objects and changing their context to make them abstract. Disney characters and magazine clippings are all pasted together to create an abstract piece that is only minimally recognizable. Arturo Herrera’s collages are abstract but eerily familiar.
Fred Wilson is famous for rearranging artwork in museums to change the meaning of the work and question the historical context of the collection. His most famous work “Mining the Museum” in 1992 rearranged the pieces of a Maryland museum’s collection. When he was done, questions about Maryland’s relationship to Native Americans and slaves were apparent, and many of the pieces interacted to create a sort of narrative. Like Matthew Ritchie he is using narrative to comment on something hidden beneath the surface, in this case the work of the museum. His critique of the museum establishment is a postmodern idea.
Jessica Stockholder is a sculptor who uses lots of junk to make what she often describes as some sort of sculptural paintings. Plastic, chairs, lawnmowers, and all sorts of things are all thrown together in a way that compliments the space she is working in. Sometimes she uses large scale installations, other times smaller collage on canvas, and everything in between. Also exploring ideas of postmodernism, her sculptures are abstract in an opposite way than Matthew Ritchie. Her sculptures are abstract in a way that works purely about form and content, rather than some underlying narrative.
Arturo Herrera works like Jessica Stockholder in the way that he is taking found objects and changing their context to make them abstract. Disney characters and magazine clippings are all pasted together to create an abstract piece that is only minimally recognizable. Arturo Herrera’s collages are abstract but eerily familiar.
Lauren’s 2nd Gallery Review: Stas Orlovski
Stas Orlovski; “Nocturnes”
Mixed Greens gallery in New York
I saw this exhibit when visiting galleries in New York with my Advanced Drawing class. We saw over a dozen shows that day, but this was the only one that stood out to me as particularly strong, both aesthetically and technically. Stas Orlovski’s “Nocturnes” was a whimsically somber exhibition dominated by large-scale 2D works with subdued colors and bold use of contrast. The subject matter revolved around several themes: full moons, birds, flora, and water. He used a wide range of techniques and mediums to create his works. The moons were often printed paper, The flora hand painted with ink and embellished with daubs of white paint, the birds sometimes collaged, sometimes hand-drawn. His execution of each work, however, often made it difficult to immediately tell which parts of the images were what. I did not realize the moons were printed until I got up close to study the linework.
His palette was fairly limited, using black, white, and a few neutral tones of blues and browns; the base of his drawings were on yellowed or off-white paper that gave the work a very antiqued look. What was particularly striking to me was the level of detail and texture in each of the works. His work was at once graphic, organic, and delicate, and his use of composition and negative space was very effective. When I researched his work more in depth on the Mixed Greens website, I found out that the inspiration behind this exhibit including Russian children books, Asian ink paintings, and Victorian-era illustrations. These three things describe exactly the look and feel of the exhibit: the subject matter was poetic and child-like, the inkwork has a clear reference to Japanese calligraphy, and the aged and antiqued look, as well as the use of printing, definitely recalled Victorianism. What I liked most about the exhibit, though, was that despite the repetitive themes and colors in each of the individual works, the show itself was not stagnant. Each image was very strong on its own and contributed to the cohesive feel of the exhibit.
11.10.2008
Codys Exhibition Review 2
The ICA is a beautiful space with three main rooms used for the installation and viewing of art. There were photo collections, video/sculpture installations and two-dimensional characters, one in each room. The exhibit that struck me the most was one hidden in a handicap ramp connecting the photo room with the space with drawings on an upper floor.
Odili Donald Odital’s exhibit, Ramp Project, is strikingly vibrant and a refreshing use of color in an unusual space.
The exhibit is striking at first, and one is unsure whether it is an art or simply décor. The paintings are slanting lines, each at a slightly different or inverse angle so they feed into each other in an overlapping effect. The lines are crisp and clean and they are differentiated by use of color.
The lines bring awareness to the ramp, as they are along the walls, transforming the space from a handicap entrance into a charged environment made of color and line. The differentiating angles mimic the inclines of the ramp itself, incorporating the slope into the piece. The negative space is important and acts as a grounding point for the viewer. It balances the forms so they are not overpowering or disorienting.
The use of color is very interesting. It looks like it could be random, but each section of lines has a certain color scheme. Each section utilizes color in a way that it produces a unique sense or recognition. For example, I feel that one section uses “watermelon colors,” reds pinks and greens. Another, comprised of blues and greens, mimics the small wakes in a pond.
This piece is considered a modernist work due to the use of abstracting fragmentations and hard edges. The artist uses paint, a classical medium to explore the African culture in his own terms. The lines and color reflect the use of these two elements in African textile and artwork. He uses his own experience and cultural background with African tradition and modern day society as inspiration for these fractured horizontal planes.
This exhibit struck me immediately, before I had even stepped fully into the space. The usage of color and line is exactly what I have been focusing on for the past few months in my own artwork. Odital’s work held my attention because of the color usage and way it stirs up memories and recollections that the mind has attached to certain color schemes. He has taken line, color and shape, three basic elements of visual art, to create a form that holds immense value. This inspires me to keep pushing in the direction I am going, and that I can start incorporating my own expression into the examination I am performing currently.
Odili Donald Odital’s exhibit, Ramp Project, is strikingly vibrant and a refreshing use of color in an unusual space.
The exhibit is striking at first, and one is unsure whether it is an art or simply décor. The paintings are slanting lines, each at a slightly different or inverse angle so they feed into each other in an overlapping effect. The lines are crisp and clean and they are differentiated by use of color.
The lines bring awareness to the ramp, as they are along the walls, transforming the space from a handicap entrance into a charged environment made of color and line. The differentiating angles mimic the inclines of the ramp itself, incorporating the slope into the piece. The negative space is important and acts as a grounding point for the viewer. It balances the forms so they are not overpowering or disorienting.
The use of color is very interesting. It looks like it could be random, but each section of lines has a certain color scheme. Each section utilizes color in a way that it produces a unique sense or recognition. For example, I feel that one section uses “watermelon colors,” reds pinks and greens. Another, comprised of blues and greens, mimics the small wakes in a pond.
This piece is considered a modernist work due to the use of abstracting fragmentations and hard edges. The artist uses paint, a classical medium to explore the African culture in his own terms. The lines and color reflect the use of these two elements in African textile and artwork. He uses his own experience and cultural background with African tradition and modern day society as inspiration for these fractured horizontal planes.
This exhibit struck me immediately, before I had even stepped fully into the space. The usage of color and line is exactly what I have been focusing on for the past few months in my own artwork. Odital’s work held my attention because of the color usage and way it stirs up memories and recollections that the mind has attached to certain color schemes. He has taken line, color and shape, three basic elements of visual art, to create a form that holds immense value. This inspires me to keep pushing in the direction I am going, and that I can start incorporating my own expression into the examination I am performing currently.
revised artist statement-anna
To me, creative thinking always brings great possibility to inform or transform.
I use an intuitive approach to color and composition in my painting, and that further directs the work.
The process enables an element of surprise and spontaniety. Water-soluble oils, watercolor, and to a lesser degree acrylic and pastel are mediums I tend to gravitate to, because they allow an immediate interaction. Using my hands to create and transform is very appealing to me.
My recent painting series, Sensing Some Treasure in Loss, focuses on different stages of recognition and discovery after an initial loss. The series is informed by previous work about heightened awareness, a moment when you sense you are being guided by something both within and beyond yourself. A veil is lifted away, gaining greater clairty of a situation. Additional works in this series will focus on stages of perseverance and the return of courage.
I use an intuitive approach to color and composition in my painting, and that further directs the work.
The process enables an element of surprise and spontaniety. Water-soluble oils, watercolor, and to a lesser degree acrylic and pastel are mediums I tend to gravitate to, because they allow an immediate interaction. Using my hands to create and transform is very appealing to me.
My recent painting series, Sensing Some Treasure in Loss, focuses on different stages of recognition and discovery after an initial loss. The series is informed by previous work about heightened awareness, a moment when you sense you are being guided by something both within and beyond yourself. A veil is lifted away, gaining greater clairty of a situation. Additional works in this series will focus on stages of perseverance and the return of courage.
anna's writeup on wilson herrera stockholder ritchie
All of the artist included in the readings and video deal with the rearrangement of forms and perceptions.
Fred Wilson rearranges museum pieces from different time periods and styles to create his own narrative. The pieces he chooses will reflect the venue, the surrounding area and its' history. His arangements also create historical revisions and truths, allowing the viewer to see objects and historical events in a new light. It is also about collecting and collaboration. Being that his family is of different races and ethnicity, I could see why this would be appealing to him.
Arturo Herrera's work is similar to Fred Wilson's in that he takes pre-existing pieces and rearranges them to create something new. His collage work was originally based on a need for a medium both affordable and readily available. But Herrera also expands his collages to take on another dimension in digital work and by incorporating music. He cites the composer Stravinsky as an influence, saying he admired his "combination of instruments and variety in his works." Crediting Stravinsky with a "sense of order, pulse, and release", you can see the similarities in Herrera's collages.
Jessica Stockholder's sculptures are informed by their surroundings. The materials she chooses "can be anything," and a lot of them are plastic. What stands out most is color, a riot of joyful color. The other is form and placement. The pieces really work in the spaces she arranges them in, and have a playful, sculptural presence. Some of the items are recognizable, yet they mostly all become a part of the whole. She also uses paintings in her pieces but changes our perceptions of what we usually think of as a painting.
Matthew Ritchie's large scale wall and floor installations are like that of Herrera, in the sense he takes previous creations (drawings) and incorporates them into new works. The forms are abstract shapes, with some representing figurative elements and characters. His central themes are the creation of the universe and the history of time. Ritchie's work has great energy. Like Stockholder, his pieces create a sculptural energy in their settings. Her's are playful, his are like energized movement. Like Herrera's use of music, Ritchie adds story to accompany his pieces. This complex story revolves around forty-nine characters, like some vidio action games. An undertanding of the background story is not necessary to appreciate his work. As stated in the article, "it's as much about incompleteness as it is completeness." Ritchie is using an extremely creative way to open things up both for the viewer and himself.
Fred Wilson rearranges museum pieces from different time periods and styles to create his own narrative. The pieces he chooses will reflect the venue, the surrounding area and its' history. His arangements also create historical revisions and truths, allowing the viewer to see objects and historical events in a new light. It is also about collecting and collaboration. Being that his family is of different races and ethnicity, I could see why this would be appealing to him.
Arturo Herrera's work is similar to Fred Wilson's in that he takes pre-existing pieces and rearranges them to create something new. His collage work was originally based on a need for a medium both affordable and readily available. But Herrera also expands his collages to take on another dimension in digital work and by incorporating music. He cites the composer Stravinsky as an influence, saying he admired his "combination of instruments and variety in his works." Crediting Stravinsky with a "sense of order, pulse, and release", you can see the similarities in Herrera's collages.
Jessica Stockholder's sculptures are informed by their surroundings. The materials she chooses "can be anything," and a lot of them are plastic. What stands out most is color, a riot of joyful color. The other is form and placement. The pieces really work in the spaces she arranges them in, and have a playful, sculptural presence. Some of the items are recognizable, yet they mostly all become a part of the whole. She also uses paintings in her pieces but changes our perceptions of what we usually think of as a painting.
Matthew Ritchie's large scale wall and floor installations are like that of Herrera, in the sense he takes previous creations (drawings) and incorporates them into new works. The forms are abstract shapes, with some representing figurative elements and characters. His central themes are the creation of the universe and the history of time. Ritchie's work has great energy. Like Stockholder, his pieces create a sculptural energy in their settings. Her's are playful, his are like energized movement. Like Herrera's use of music, Ritchie adds story to accompany his pieces. This complex story revolves around forty-nine characters, like some vidio action games. An undertanding of the background story is not necessary to appreciate his work. As stated in the article, "it's as much about incompleteness as it is completeness." Ritchie is using an extremely creative way to open things up both for the viewer and himself.
11.09.2008
James G: Revised Artist Statement
My work takes advantage of the diminishing divide between the physical and digital world. The dichotic relationship between these worlds is simultaneously interwoven and detached, which has led to higher productivity as well as addiction and solitude. I have been exploring our increasing reliance on the digital world by using animation, digital photography, and other forms of computer generated media. My work uses this digital media to critique and parody this new phenomenon.
James G Exhibition Review: Re-Building at Vox Populi
For their October exhibition, the Vox Populi gallery in Philadelphia showed Leah Bailis’s cardboard sculpture titled “Re-Building”. Painted white and made to resemble siding on a suburban style house, there are several cut out sections of siding that are assembled on top of each other. The fragmented sections are assembled to reference a house, with a triangle top and several breaks in the sections that reference doors and windows. The structure of the cardboard sections is also visible, which further reinforces ideas about construction. These construction references made me think about Gordon Matta-Clark house cuts in a weird way, while he was perfectly deconstructing houses, Leah Bailis seems to be imperfectly constructing them.
Tall and narrow, the structure is clearly not intended for use, actually acting more like a prison cell than a house. The siding and the house shape are clearly referencing suburbia, but not necessarily in an appealing way. The success of the work lies in the subtle reference to city life: the block forms, the segmented parts, and the narrow frame. The work brings up questions abut the differences between city and suburban life, and the viewer is forced to make their own conclusion about which is more desirable.
more post-modernist artwork
This set of readings/videos showcased four more post-modern artists, all of whom used pre-existing objects as the raw material for their work. Jessica Stockholder's work incorporated brightly colored plastic items, Fred Wilson collected chachkis of all kinds, which he used to compose his work, and Arturo Herrera did the same, but with images that he manipulated in his collages. Matthew Richie's work borrows in a slightly different way. He translated his own line drawing into various different media, a process which eventually culminated in cage-like metal sculptures. These artists simultaneously prove and disprove post-modern thought. Essentially, their work is the very definition of post-modern art, yet by compiling these objects and arranging them the way these artists do, they are creating something new. It reminds me of the musician Girl Talk. He mashes up slivers of various songs to make his albums, arranging them the way other musicians arrange notes. The bottom line is that these songs and the pieces created by those four artists are not stale because of their origins. These post-modernist methods yield modern results with a modern optimism.
Michelle's Revised Artist Statement
My current work consists of mixed media "paintings" using elements such as spray paint, thread, Bic ball-point pens, even yesterday's left over coffee. Implementing these "at-hand" everyday household items, I create intimate forms where these non-typical mediums assume a more personable and delicate character. In addition, the juxtaposition between these various mediums and subject matter explore the separation and coexistence between the natural and the synthetic. My gravitation towards representing nature and man-made objects are rendered primarily in life-size scale. The conscious choice of depicting representational objects at such a size seeks to question technical and conceptual perceptions of the true object. Playing with scale and detail allow me to reference the concept of simulacra by constructing landscapes and objects as tweaked, quirky versions of their realistic counterparts. The focus on detail within this process of collage and painting has carried over to my other pieces in digital photography, installation, and fiber-art. The manner with which I use color and line is crucial to the personal narrative interwoven in my works. Bright, opaque, almost jarring colors in conjunction with flat and delicately detailed linear form are informed by my obsession with objects, ideas, and places that are usually overlooked, discarded, and/or taken for granted in highly materialistic American culture.
Exhibition Review #2 at the ICA
Upon visiting the Institute of Contemporary Art in Philadelphia there were two artists out of four that stood out. The first was a showcased in the show entitled R. Crumb’s Underground. Within this artist based exhibition, the life long work of Robert Crumb was placed on display for the audience of viewers. This work was composed of mainly pen and ink comic strip or other related work, but also included some sculptural pieces. All of these works held one strong common ground, that they were created by the extremely innovative and edgy mind of R. Crumb. Even upon entering the show the viewer is confronted with a sign that stated the material within the gallery was intended for mature audiences only and this was just a taste of what the viewer was yet to see. Spanned between two rooms within the gallery the work of R. Crumb filled up much of the wall space as well as many glass cases and a good amount of floor room. Each piece stood as an individual statement on sexuality, as well as the underground comic industry and the environment that surrounded it. Viewers are taken aback by some of the overtly sexual content that verges on that of a pornographic nature. These images and the content of each piece set a tone for the works of R. Crumb. They create a playful and humorous depiction of the world and its issues as seen through what very closely resemble the eyes of a pubescent boy. Although the mindset seems to be stuck in the issues of sexuality it also brings about messages on many other topics including racism and feminism. Not only do these intellectual subjects stray from some of the seemingly adolescent ideals, but so does the level of craftsmanship. Each image is created with an excruciating quality of work and displays the artist mastery of technique and con
tent.
R. Crumb is someone who is now know as the king of underground comics and widely thought of as a genius in the art world. One piece that suggests this talent and insight was a sculpture of a large cartoon-like female figure. The figure is poised in a fairly suggestive gesture. On the sculpture there are visible details of female genitalia that are suggested through the sculpture’s painted clothing. This piece demonstrates not only the many ideas that are captured in the work of R. Crumb, but also the versatility of the artist’s hand. Although Crumb works mainly with comic strip layouts and pen and ink drawings, he broke from this structure when moving to three-dimensional work. Moving away from the original format of his work while still holding the ideals and concepts of his earlier work Crumb breaks out of a static mold and creates a body of work that show a great amount of breath. This idea of movement into the world of dimensionality can also be observed in the use of large images that are posted throughout the exhibition that break from the original picture plains.
The next artist that stood out in the Institute of Contemporary Art’s exhibitions was Kate Gilmore, an artist whose works were primarily video footage of performance pieces. These videos are based on the idea of constructing spaces and events for Gilmore to struggle and fight her way out of. Building tunnels that she squeezes through and boxes that she kicks and pushes her way out of, Gilmore eventually breaks out of the structures. She does all this while dressed in formal outfits donning make-up and heels. With pieces like Every Girl Likes Pink, Gilmore shows the idea of building captive walls around one’s self and then trying to break out of their containing structures. This thought reflects the idea of building a persona that others may expect or impose on you and similarly trying to break down these walls to experience the world of views that sits just outside the tiny space we have constructed. Gilmore’s work also comments on the oppression of women by society and the struggle of women in the attempt to break out of these restrictions while being bogged down by the stereotypes and constructs that are formed around female image. Both these views speak strongly in her physical struggle that is seen in her video instillations and can be paired greatly with the pieces of R. Crumb, which also speak loudly on the topics of the female images and how society views female figures. Both artists, in their own respects, make loud statements on these culture-based topics and create work that confronts viewers about these different ideas.
tent.
R. Crumb is someone who is now know as the king of underground comics and widely thought of as a genius in the art world. One piece that suggests this talent and insight was a sculpture of a large cartoon-like female figure. The figure is poised in a fairly suggestive gesture. On the sculpture there are visible details of female genitalia that are suggested through the sculpture’s painted clothing. This piece demonstrates not only the many ideas that are captured in the work of R. Crumb, but also the versatility of the artist’s hand. Although Crumb works mainly with comic strip layouts and pen and ink drawings, he broke from this structure when moving to three-dimensional work. Moving away from the original format of his work while still holding the ideals and concepts of his earlier work Crumb breaks out of a static mold and creates a body of work that show a great amount of breath. This idea of movement into the world of dimensionality can also be observed in the use of large images that are posted throughout the exhibition that break from the original picture plains.The next artist that stood out in the Institute of Contemporary Art’s exhibitions was Kate Gilmore, an artist whose works were primarily video footage of performance pieces. These videos are based on the idea of constructing spaces and events for Gilmore to struggle and fight her way out of. Building tunnels that she squeezes through and boxes that she kicks and pushes her way out of, Gilmore eventually breaks out of the structures. She does all this while dressed in formal outfits donning make-up and heels. With pieces like Every Girl Likes Pink, Gilmore shows the idea of building captive walls around one’s self and then trying to break out of their containing structures. This thought reflects the idea of building a persona that others may expect or impose on you and similarly trying to break down these walls to experience the world of views that sits just outside the tiny space we have constructed. Gilmore’s work also comments on the oppression of women by society and the struggle of women in the attempt to break out of these restrictions while being bogged down by the stereotypes and constructs that are formed around female image. Both these views speak strongly in her physical struggle that is seen in her video instillations and can be paired greatly with the pieces of R. Crumb, which also speak loudly on the topics of the female images and how society views female figures. Both artists, in their own respects, make loud statements on these culture-based topics and create work that confronts viewers about these different ideas.
More Art:21 Peeps
The artists in this week’s readings and videos seem to be exclusively from the Post-Modernist movement. Each artist takes strides forward in their thought processes, as well as the formation of their pieces. The artist Jessica Stockholder embodied these ideals of Post-Modernism by creating innovative and unique pieces, as well as spaces, by collected and composing objects. These objects range in difference from refrigerators to plastic buckets, but each takes on a new shape and being when recontextualized by the hand of Stockholder. When speaking of her art, Jessica Stockholder makes a comment about her attraction to the aesthetic quality of plastic, and how this becomes a large part in her creations. This idea can be seen greatly in the incorporation of bright playful colors, the materials, as well as the transformation of many objects by painting over their old surfaces to create a more “plastic” finish. The use of the found or collected objects creates a strong connection to post-modernism, which is also true about the next artist.
Fred Wilson takes the idea of found object art to an entirely different level than most might think of when referring to this art form. Wilson very literally creates pieces of art with found objects, but not by molding them together and forming them into a completely new structure or object; instead, he takes a very distinct approach. This take on creation is one that is focused around placement and grouping, moving away from the idea of incorporation and recontextualization. The pieces that Wilson creates are based largely on the idea of positioning objects and forming a composition with how each object is placed and sit. This idea moves far away from that of the artist as a hero and reflects more the concept of chance. The idea of using objects that are not created distinctly by the artist is one that is fairly common with the concept of collage. Because of this connection, Wilson and Stockholder’s work can relate to each other as well as that of collage artists.
By taking images from children’s books as well as other widely recognizable images, Arturo Herrera seeks to transform already existing icons into something very distinct. This is another way of incorporating found objects into artwork, but one of a very different nature. Although Herrera does use some of his own images to create his collages, this idea of found objects and recycling already existing art remains very consistent. The work of Herrera creates varying layers of recognition, whether they work together as a whole image or through dissecting the visuals that might hold a certain amount of memory for the viewer. Playing with this idea of connection to memory as well as the creation of something new, this artist seems to display many characteristics of a Post-Modernist as well as a strong relationship with the idea of progress and sustainability in art. In the written interview with Stephanie Smith, Herrera speaks extensively about the inspiration he drew from ballet and the many aspects that stand behind its creation. Though this particular project is not touched upon in the video documentation, projected pieces are discussed in the written interview and show the aspect of multi-media coming into play with Herrera’s pieces, a characteristic attributed to the work of Post-Modernism.
Lastly, the artist Matthew Richie is discussed displaying his large amount of variety and some of his insights into the pieces. Richie’s pieces create a strong sense of visual attention to rhythmic line and shapes. These works range in their size, media, and display, creating a widely diverse sense of creativity when compared to one and other. In the written article on the work of Richie it can be viewed that many aspects come into play within each pieces. Whether this playfulness manifests itself in many layers of drawing, the addition of written components, or interaction with the environment surrounding the work, it creates a sense of collectivity and unity. The Art:21 video segment also shows how the work spans into the realm of interactive media and large metal pieces cut by machines that piece together to form sculptures. Each work explores the artist’s ideas about the universe around him and different game and life theories. This aspect of spanning very common themes across the terrain of multiple media creates a strong supportive foundation for this artist’s body of work. It was this idea that created a contrast between Richie and the above artists by making his work more interesting when I viewed it along with the video segment. This idea of unity forms a great foundation for Richie’s work that is discussed and promotes the success of it as a whole.
Fred Wilson takes the idea of found object art to an entirely different level than most might think of when referring to this art form. Wilson very literally creates pieces of art with found objects, but not by molding them together and forming them into a completely new structure or object; instead, he takes a very distinct approach. This take on creation is one that is focused around placement and grouping, moving away from the idea of incorporation and recontextualization. The pieces that Wilson creates are based largely on the idea of positioning objects and forming a composition with how each object is placed and sit. This idea moves far away from that of the artist as a hero and reflects more the concept of chance. The idea of using objects that are not created distinctly by the artist is one that is fairly common with the concept of collage. Because of this connection, Wilson and Stockholder’s work can relate to each other as well as that of collage artists.
By taking images from children’s books as well as other widely recognizable images, Arturo Herrera seeks to transform already existing icons into something very distinct. This is another way of incorporating found objects into artwork, but one of a very different nature. Although Herrera does use some of his own images to create his collages, this idea of found objects and recycling already existing art remains very consistent. The work of Herrera creates varying layers of recognition, whether they work together as a whole image or through dissecting the visuals that might hold a certain amount of memory for the viewer. Playing with this idea of connection to memory as well as the creation of something new, this artist seems to display many characteristics of a Post-Modernist as well as a strong relationship with the idea of progress and sustainability in art. In the written interview with Stephanie Smith, Herrera speaks extensively about the inspiration he drew from ballet and the many aspects that stand behind its creation. Though this particular project is not touched upon in the video documentation, projected pieces are discussed in the written interview and show the aspect of multi-media coming into play with Herrera’s pieces, a characteristic attributed to the work of Post-Modernism.
Lastly, the artist Matthew Richie is discussed displaying his large amount of variety and some of his insights into the pieces. Richie’s pieces create a strong sense of visual attention to rhythmic line and shapes. These works range in their size, media, and display, creating a widely diverse sense of creativity when compared to one and other. In the written article on the work of Richie it can be viewed that many aspects come into play within each pieces. Whether this playfulness manifests itself in many layers of drawing, the addition of written components, or interaction with the environment surrounding the work, it creates a sense of collectivity and unity. The Art:21 video segment also shows how the work spans into the realm of interactive media and large metal pieces cut by machines that piece together to form sculptures. Each work explores the artist’s ideas about the universe around him and different game and life theories. This aspect of spanning very common themes across the terrain of multiple media creates a strong supportive foundation for this artist’s body of work. It was this idea that created a contrast between Richie and the above artists by making his work more interesting when I viewed it along with the video segment. This idea of unity forms a great foundation for Richie’s work that is discussed and promotes the success of it as a whole.
Reivsed Artist Statement
Details, whether through mark making or the planning stages, inform each individual work and forms a consistent theme throughout the grouping of my works. Layering of delicate lines creates a compulsive act of rendering. This act of intricate mark making allows for a sense of meditation, while also maintaining a strong sense of labor. These actions promote an emotional involvement and personal attachment to each piece. Recently, my works have explored the direction of book arts as well as printmaking. Within these two fields, I use my sense of detail and a strong interest in a wide range of books to create work that is both unique and powerful. Currently experimenting with the technique of lithograph prints and hand-drawn layers on book forms, I strive to create a sense of story that is non-traditional. This idea can manifest in the use of a singular image spanning over the duration of the book’s pages only depicting a single scene, or in printing the main narrative text on the cover instead of inside the book’s form. Each work often displays a graphic line quality, creating strong visual elements as well as enhancing the dramatic nature of the work. These works examine personal events and the nostalgic idea of comic book related subject matter. Both ideas aid in forming a foundation for description of visual images, but also for the conceptual ground work. Growing up with an attachment to both comic books and graphic novels, the styles of these media seep through my personal style to create a distinct look that alludes to both these foundations. This work incorporates delicately described details that capture fleeting moments and explore both personal experiences and the many facets of the world around us.
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