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Monthly Archives: February 2007
RCVA – Student Exhibition
March 9 through March 24 — Annual School of Art Student Exhibition (DeVries Student Gallery). Wardell Milan, a recent graduate of the Yale Art School, is the juror for the exhibition. Mr. Milan will also give a public lecture on his work as well as the process of jurying a student exhibition.
Mr. Milan’s talk will be at 5:30 p.m. on February 22 in Sangren Hall, Room 2302.
The Body as Matrix
The Cremaster Cycle – Matthew Barney
CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho – Barney’s hometown. Two Goodyear Blimps float above the arena like the airships that often transmit live sporting events via television broadcast. Four air hostesses tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines. In the middle of each cabin interior sits a white-clothed table, its top decorated with an abstract centerpiece sculpted from Vaseline and surrounded by clusters of grapes. In one blimp the grapes are green, in the other they are purple. Under both of these otherwise identical tables resides Goodyear (played by Marti Domination). Inhabiting both blimps simultaneously, this doubled creature sets the narrative in motion. After prying an opening in the tablecloth(s) above her head, she plucks grapes from their stems and pulls them down into her cell. With these grapes, Goodyear produces diagrams that direct the choreographic patterns created by a troupe of dancing girls on the field below. The camera switches back and forth between Goodyear’s drawings and aerial views of the chorus girls moving into formation: their designs shift from parallel lines to the figure of a barbell, from a large circle (more on the cremaster site – http://www.cremaster.net)
CREMASTER 2 (1999) is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney’s abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1. Cremaster 2 embodies this regressive impulse through its looping narrative, moving from 1977, the year of Gary Gilmore’s execution, to 1893, when Harry Houdini, who may have been Gilmore’s grandfather, performed at the World’s Columbian Exposition. The film is structured around three interrelated themes – the landscape as witness, the story of Gilmore (played by Barney), and the life of bees – that metaphorically describe the potential of moving backward in order to escape one’s destiny. (more on the cremaster site – http://www.cremaster.net)
CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character – host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect (played by Richard Serra), and the Entered Apprentice (played by Barney), who are both working on the building. They are reenacting the Masonic myth of Hiram Abiff, purported architect of Solomon’s Temple, who possessed knowledge of the mysteries of the universe. The murder and resurrection of Abiff are reenacted during Masonic initiation rites as the culmination of a three-part process through which a candidate progresses from the first degree of Entered Apprenticeship to the third of Master Mason. After a prologue steeped in Celtic mythology, the narrative begins under the foundation of the partially constructed Chrysler Building. A female corpse digging her way out of a grave is the undead Gary Gilmore (more on the cremaster site – http://www.cremaster.net)
CREMASTER 4 (1994) adheres most closely to the project’s biological model. This penultimate episode describes the system’s onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion – three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island’s folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. Myth and machine combine to narrate a story of candidacy, which involves a trial of the will articulated by a series of passages and transformations. The film comprises three main character zones. The Loughton Candidate (played by Barney) is a satyr with two sets of impacted sockets in his head – four nascent horns, which will eventually grow into those of the mature, Loughton Ram, an ancient breed (more on the cremaster site – http://www.cremaster.net)
When total descension is finally attained in CREMASTER 5 (1997), it is envisioned as a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest. The film is cast in the shape of a lyric opera. Biological metaphors shifted form to inhabit emotional states – longing and despair – that become musical leitmotivs in the orchestral score. The opera’s primary characters – the Queen of Chain (played by Ursula Andress) and her Diva, Magician, and Giant (all played by Barney) – enact collectively the final release promised by the project as a whole. Cremaster 5 opens with an overture that introduces the opera’s characters and lays out the map of Budapest that the narrative will traverse. The Magician crosses the Lánchíd Bridge on horseback. The Queen ascends the staircase of the Hungarian State Opera House with her two ushers. (more on the cremaster site – http://www.cremaster.net)
The Cremaster cycle defers any definitive conclusion.
Cremaster Trailer: http://www.cremaster.net/cc_trailer/cc_trail4.htm
Cremaster Website: http://www.cremaster.net
Scholarships and Awards
Keep your eye on the deadlines for scholarships and awards….
Reminder – Student Show
Work is to be delivered to the DeVries Gallery in the Richmond Center for Visual Arts this Thursday 2/15 or Friday 2/16 between 10 a.m. and 4:45 p.m.
The RCVA is fully open now. To get to the gallery through the front door, go down the hall and it will be to the left in front of the back door. From the back door it is directly to the right as you come in.
For guidelines and more information consult a poster in Sangren.
ALEX VILLAR
OVERTIME 2004 ALEX VILLAR
While overtime is normally conceived as additional workload, ‘excess of work’ is in this piece represented as the excess the body manifests when overworked. Slacking and sleeping, rather than performing and behaving properly, are the championed activities here; they represent unproductive instances of the working body. This piece conflates the situations described above to ambiguous spatial situations in the physical configuration of the office space; for example, the space underneath the desk, the space in between meeting tables, etc. While not claiming a state of complete freedom, the situations depicted in this piece propose a flexibilization of an otherwise rigid code of control.
For Video Excerpt:
http://www.de-tour.org
Out of Time: A Contemporary View @ MOMA
Repeat, fast-forward, rewind, pause, recycle, live, delay: these terms are part of the language we use to describe how temporality is manipulated in the contemporary world. Recent technological advances facilitate an unprecedented alteration, compression, and extension of time. These new possibilities coexist with a vision of history as fractured, contradictory, and subject to multiple interpretations.
The present display of contemporary art from the Museum’s collection explores some of the tensions embedded in recent experiences of time, as expressed in art made in the past few decades. These experiences include watching time pass, as in Andy Warhol’s Empire; marking, suspending, condensing, or elongating its flow, exemplified here by the work of Martin Creed or Jeff Koons; subjecting the creative process to time, as William Anastasi, Janine Antoni, and Robert Morris do; developing narratives based on cyclical, organic, or illogical models of time, as may be seen in the video work of Bill Viola and Pipilotti Rist; addressing history through the memory of oppressions, displacements, and alienation, as Carrie Mae Weems and Jane and Louise Wilson do; and considering how the past inflects the present, an experience suggested by the work of Shirazeh Houshiary and Gerhard Richter.
Out of Time is not organized chronologically; rather, it endeavors to draw connections across decades and across a variety of mediums, illustrating the interdisciplinary character of contemporary art. The history of contemporary art is in the process of being written, updated, and revised, and for this reason the presentation in the Contemporary Galleries changes at least once a year.
Organized by Joachim Pissarro, Curator, Department of Painting and Sculpture, and Eva Respini, Assistant Curator, Department of Photography, in consultation with Luis Enrique Pérez-Oramas, Adjunct Curator, Department of Drawings.
http://www.moma.org/exhibitions/2006/out_of_time.html
Two Works form the Exhibition:
Mona Hatoum. (British of Palestinian origin, born in Beirut, Lebanon, 1952). + and -. 1994-2004. Sand , steel, aluminum, and electric motor, 10 5/8″ (27 cm) high x 13′ 1 ½” (400.1 cm) diameter. Fractional and promised gift of Jerry Speyer and purchase. © 2007 Mona Hatoum
This work is a large-scale re-creation of the kinetic sculpture Self-Erasing Drawing Hatoum made in 1979. Replacing conventional artists’ tools (pencil and paper, paint and canvas) with a motorized, toothed metal arm and a circular bed of sand, Hatoum mechanizes the practices of mark-making and erasure. At a rate of five rotations per minute, the sculpture’s hypnotic and continual grooving and smoothing of sand evokes polarities of building and destroying, existence and disappearance, displacement and migration.
Pipilotti Rist. (Swiss, born 1962). Ever Is Over All. 1997. Video installation, two overlapping projections (color, sound with Anders Guggisberg), Dimensions variable. Fractional and promised gift of Donald L. Bryant, Jr.
Ever Is Over All envelops viewers in two slow-motion projections on adjacent walls. In one a roving camera focuses on red flowers in a field of lush vegetation. The spellbinding lull this imagery creates harmonizes with the projection to its left, which features a woman in sparkling ruby slippers promenading down a car-lined street. The fluidity of both scenes is disrupted when the woman violently smashes a row of car windshields with the long-stemmed flower she carries. As the vandal gains momentum with each gleeful strike of her wand, an approaching police officer smiles in approval, introducing comic tension into this whimsical and anarchistic scene.
Double Vision – Stan Douglas & Douglas Gordon
This exhibition of the work of Canadian artist Stan Douglas and Scottish artist Douglas Gordon includes a new media installation by each artist. Stan Douglas presents a work entitled Win, Place or Show, which takes as its point of departure a fundamental transformation in the organization of North American civic space in the 1960s. Douglas Gordon’s new work, left is right and right is wrong and left is worng and right is right, appropriates a little-known film made in 1949 by Hollywood director Otto Preminger titled Whirlpool. Juxtaposed, the two works, which both utilize dual projection, reveal surprising correspondences with one another, while simultaneiously permitting each artists’s singular concerns to emerge sharply.
Stan Douglas @ Württembergischer Kunstverein Stuttgart & Staatsgalerie Stuttgart
Stan Douglas
Past Imperfect
Works 1986 – 2007
September 15, 2007 – January 6, 2008
Württembergischer Kunstverein Stuttgart & Staatsgalerie Stuttgart
Stan Douglas, Suspiria, 2005, copyright Stan Douglas
From the September 15, 2007 until January 6, 2008, the Württembergischer Kunstverein and the Staatsgalerie Stuttgart will be presenting within a space covering 4,000 sq. metres the first comprehensive exhibition of the works of Canadian artist Stan Douglas. The exhibition will encompass fourteen video and film installations, as well as numerous photographs.
Born in Vancouver, in 1960, Stan Douglas ranks among the most important of contemporary artists. He has participated in the Documenta three times (1992, 1997, 2002) as well as in the Venice Biennale (1990, 2001, 2005) and his works have been shown at numerous additional biennales and prominent exhibition houses. It is in Stuttgart that his principal works of the last twenty years will be shown and experienced for the first time in a large-scale show. Iris Dressler and Hans D. Christ (Directors of the Württembergischer Kunstverein) developed the exhibition in close collaboration with Stan Douglas.
As no other artist, Douglas has been able to enlarge in both a sensual and intellectual way the experience of the cinematic and museum space. With recourse to the intellectual, cultural and ideological traditions of modernity, his works exemplify a critical revision of Western history, past and present. It is the failure of modern utopias and the “ghosts” they spawned which form some of the artist’s central themes.
Behind almost all the works is an examination of a particular place – Potsdam, Vancouver, Cuba or Detroit –, the respective histories of which are reflected along the various literary, filmic or musical references the artist uses: as, for example, E.T.A. Hoffman’s “Der Sandmann” (Der Sandmann), Melville’s “The Confidence-Man” (Journey into Fear), the Grimm fairy tales or Marx’s “Capital” (both in Suspiria).
Both his most recent video installations, Klatsassin and Video, revolve around two fields of analysis which Douglas has reflected since the 1980s and that substantially shape his oeuvre: the emergence of Western empires in the “New World”, on the one hand and the work of Samuel Beckett on the other. For instance, Douglas already curated an exhibition on Beckett’s “Teleplays” in 1988. His recently produced video installation, Video, refers to Beckett’s film “Film” starring Buster Keaton, and to Franz Kafka’s novel “The Trial”.
Taking place at two locations, the exhibition is conceived as one project and is to be accompanied by a comprehensive catalogue.
Opening: 14th September, 2007
Press conference: 13th September, 2007, 11 am
Curators
Hans D. Christ, Iris Dressler
in cooperation with
Sean Rainbird, Gudrun Inboden
A joint project of
Württembergischer Kunstverein Stuttgart and Staatsgalerie Stuttgart
Württembergischer Kunstverein Stuttgart
Schlossplatz 2
http://www.wkv-stuttgart.de
Staatsgalerie Stuttgart
http://www.staatsgalerie.de
Download press material: http://www.wkv-stuttgart.de/en/press
Pipilotti Rist @ Magasin 3 Stockholm Konsthall
PIPILOTTI RIST
“Gravity, Be My Friend”
February 10 – June 17, 2007
Curator: Richard Julin
MAGASIN 3 STOCKHOLM KONSTHALL
http://www.magasin3.com/exhibitions/pipilotti.html
“Tyngdkraft, var min vän” (Gravity, Be My Friend), 2007, Audio video installation, Courtesy the artist and Hauser & Wirth Zürich London, Photo: Johan Warden
Pipilotti Rist is one of the most prominent artists working today, best known for her dream-like video installations and colour-drenched imagery. Probing both physical and psychological dimensions her exploration of the body, our senses, rituals and taboos are at once poetical, intimate and playfully entertaining.
The exhibition comprises central pieces in Rist’s production as well as two newly produced works.
The title-piece “Tyngdkraft, var min vän” (“Gravity, Be My Friend”) is a new large-scale audiovisual installation is specially produced for Magasin 3. The new work offers an overall experience where the viewer laying down is taken to a place at the beginning of time or possibly in the future. Pipilotti Rist aims at including us in a specific setting, putting us ‘into the movie’ in order to open up our mind to complex themes. “Tyngdkraft, var min vän” is a further development of her working method and imagery. With this work Pipilotti Rist wants to encompass a flash of consciousness in the spectators minds, a kind of mildness to themselves.
In conjunction with the exhibition Magasin 3 is producing a publication in collaboration with Lars Müller Publishers. It contains a very personal and fascinating conversation between the artist and the curator of the exhibition Richard Julin revealing new dimensions of the world of Pipilotti Rist, with anecdotes from the creation process and reflections on life, art and food. The book is published in three separate editions: English, Swedish and German.
Pipilotti Rist was born in 1962 and lives and works in Zurich. Since the beginning of the 1990’s she has been included in a large number of group shows and has had solo exhibitions at some of the most prestigious art institutions around the world.
Read more about the exhibition: http://www.magasin3.com/exhibitions/pipilotti.html
Magasin 3 Stockholm Konsthall was founded 1987 and is one of the leading institutions of contemporary art in Sweden. Since its inception Magasin 3 has become recognized for major exhibitions presenting works by internationally established artists.
Eraserhead
Eraserhead – David Lynch (1976)
Interpreting the film
Eraserhead is considered a difficult film to understand and is open to various interpretations. For example, the review at DVD Verdict offers at least three interpretations.[2] The story does not have a strictly linear plot, it is punctuated with fantasy/dream sequences of differing lengths, and the boundary between these fantasy/dream sequences and the primary narrative strand is often blurred. Lynch has said he has yet to read an interpretation of the film that is the same as his own. (From Wikipedia – http://en.wikipedia.org/wiki/Eraserhead)
David Lynch’s website – http://davidlynch.de/
Campus Closed Today
Campus Closed today 2/5 due to weather ….
2480: PHOTO I
Be ready on Tuesday to review the grid assignment.
Due to the weather and options for photographing outside this weekend and classes cancelled and the darkroom closed today I will adjust the schedule – more information soon.
Thursday you will not need negatives to print – there will be an image lecture instead.
3480: PHOTO II
Be ready on Wednesday with your Benjamin Mechanical Reproduction reading summary.
Due to the weather and options for photographing outside this weekend and class cancelled today I will adjust the schedule for project 2 – more information soon.
And if I don’t have your proposal for Project 2 – get it in asap!
We will regroup on Wednesday – start in rm 1502 to discuss the reading and then move to rm 1107 for a work session.
5560: VIDEO
Be ready on Wednesday with your Second reading summary from the first section of the matrix book.
Make sure that your Assignment 2 quicktime file is in the class folder for Wednesday.
And if I don’t have your proposal for Project 1 – get it in asap!
We will regroup on Wednesday.
DARIA DOROSH: THE CHANGING ROOM
Image Credit: Daria Dorosh – Scissor Girl, 2006
Gallery I and II Daria Dorosh: The Changing Room
New York, N.Y., February 6, 2007 – Daria Dorosh will show her new work on the theme of change, visibility, vulnerability and risk in The Changing Room, a multi-media installation with undertones of the French film classic “La Belle et La Bete,” and a clothing store’s “Try-on Room.” Two new digital print series will be shown: “Little Nothings”, photographs of tiny sculptures, which invite fantasy and narrative, and “Follow the Pattern”, video stills from “Patternwoman, Ohio Version.”
The Changing Room includes fashion items for visitors to try on or contemplate. A ‘Magic Mirror’ and a web cam post the activity in the gallery to the artists’ website. One “try-on” element is a collaboration between Dorosh and the poet Marcia Nehemiah who knit 20 “wristy-crats,” fashion components that visitors may model for the web cam on site, along with Nehemiah’s knit nose warmers and Dorosh’s own Dressy Pot Holder hat.
Daria Dorosh is an artist, activist, senior researcher and Ph.D. candidate with SMARTlab at the University of East London. Her thesis is on the informatics of Patterning in which she posits an underlying structure that crosses the gap between fashion, fine art and digital culture. Since 1974, she has produced sixteen one-person shows and her work has been shown at media events such as DEAF, DIGit, Siggraph2004, and published in Leonardo, Journal of the International Society for the Arts and Sciences and Technology. Her work integrates traditional art practice with digital media and experimental installation.
A 2001 catalog of work by Daria Dorosh, Reweaving Time, with essays by David Carrier and Dominique Nahas is available from A.I.R. Gallery. The exhibition is supported in part by a grant from the Delaware Valley Arts Alliance. Four evening events, which draw on the exhibition’s themes will be held throughout February. All are free and open to the public. The events include a multimedia history of Mary Wollstonecraft, Britain’s first feminist; a symposium on “The Sound of Pattern”; a panel of men who will discuss “What Do Men Want? Hot Clothes!” and “Fragments from the Highlands of Scotland via Northlands Glass Workshop: A visual story.” For more information go to
Call for Submissions – Spark Video Canada
Announcing the Return of Spark Video Canada
Spark Video Canada is requesting submissions for a group video exhibition planned for early April. We are looking for a broad range of submissions from students, emerging artists, established artists and videographers who work in single-channel video.
We welcome all styles of video.
Deadline for submission is Friday, March 23, 2007.
We accept MiniDV and DVD, and please include a CV and brief artist statement. Please send exhibition copies only.
Only materials that include a self-addressed, stamped envelope (Canadian postage) will be returned.
Regrettably:
“Artist fees are beyond our means and dreams”
Please forward your submission:
Christine Negus and Katie Micak
C/O Spark Video Canada
24 Mohawk Road
London, ON
Canada
N6G 2P5
* Students welcome to submit
February 2007 – East Hall
February 19-23
Rotunda: Elisha Young – non-degree show
South Gallery: Josh Ingersoll – non-degree show
February 26-March 2
Rotunda: Lauren Lutz – BFA Photography
South Gallery: Jenna Caschera – non-degree Group Photography Show
Photography & Intermedia 