ART:21: Your work has often been described as ‘installation art.’ Could you talk about what an installation is and what it means to you, personally, to work in this way?
HAMILTON: I think the form, for me, of working in installation is one that always implicates you actively within it. So that unlike an object, which we are very comfortable standing outside of and looking at, to work in installation is to work in relation to a particular place and all of the confluences and complexities of whatever it is that creates that (space). And so, as a viewer, to come in, it’s the experience the minute you cross the threshold: it’s the smells, it’s the sounds, it’s the temperature, it’s how all of those things have everything to do with the felt quality of ultimately what the thing becomes. I started in weaving, in textiles. I think that my first hand is still a textile hand in some ways, but I was very dissatisfied with the flatness that things actually had when they were done. It seemed like they were dead in some ways. And working, for me, in the form of installation in the way that I have, it’s that you’re coming in and you’re in some instances animating the space, and the process is often very social; for me, that part of it is very satisfying. There’s a way that it (the installation) has an ongoing life as it meets the public. Every moment that it’s up it’s different. It’s different from moment to moment, and somehow it’s that live time that’s just a factor of the form really, or something that is characteristic or inherent in the form is something that makes it continually interesting for me. It’s like there’s no real repetition in that time. Every day you’ll come in and every day it may be the same, seemingly, but within that there’s a difference and it’s only…I don’t know, I guess it allows that to be experienced and to be felt and registered.
ART:21: And there’s also the way in which installations are impermanent, being specific to a particular place and time.
HAMILTON: Well, certainly. It’s almost like the attitude about this space is not necessarily to alter it or deny it or erase it in any way, but to make present something that’s always here, make it more experienceable, perhaps. And part of that is its live time, and so the duration of that time means that it’s ephemeral in this form here. I don’t think it means that it can’t be reinstalled or have another iteration, but that will always be different. The experience of it will be different because of all the factors that actually give this the atmosphere that it has; it won’t be there in another situation or context. I suppose it is that live quality that is the thing that keeps it animate for me. You know, it’s that it’s never quite fixed, and so I don’t really think that it’s ultimately ephemeral. I mean, I feel like the video could be installed in a lot of different ways, and could take on different layers of meaning depending on whatever context it goes into. But it will only be like this once.
Artist Website here: www.annhamiltonstudio.com
Filed under: Documentaries
The American flea market is the star of this quirky documentary from filmmaker Rick Sebak, who journeys across the country to various noteworthy markets and interviews fellow bargain hunters along the way. The stops include Seattle’s Fremont Market, vintage clothing shops in New York City, Texas’s First Monday Trade Days and the staggering Highway 127 Sale, which stretches across four states for a record-breaking 450 miles. (Netflix Description)
Lecture: Thursday, March 26
RCVA #2008, 5:30 PM
This year’s juror is the artist Don Harvey. Harvey has lived and worked in Cleveland Ohio for the last 25 years, where he has produced gallery works in various media, from industrial materials to digital images. He is also well known for his public art commissions and work with Cleveland’s Committee for Public Art agency, an organization he co-founded in the early 1980’s.
Harvey has had numerous one person and group exhibitions, including a recent exhibition at William Busta Gallery in Cleveland, and Don Harvey, Invented Landscapes at the Museum of Contemporary Art, Cleveland. Group shows include Artists and the Art of the Book and One of a Kind Artists Books, both shows that traveled throughout the United States and South America. Harvey taught at the Meyers School of Art, the University of Akron from 1973-2000, and is now a Visiting Professor of Art at Oberlin College, in Ohio.
Albertine Monroe Brown Gallery
April 2-16, 2009
Filed under: Visiting Lectures
Color as Perception: Space, Light and Intuition
Visiting Artist Christine Carr
Monday, March 23rd.
RCVA Room #1004 (FIRST FLOOR)
Visiting Artist Christine Carr will be here to speak about Color and her photo work with it.
Hailing from Portsmouth, Virginia, Christine Carr received degrees from the Corcoran College of Art and Design and the Tyler School of Art. Her work has been included in the 4th edition of Exploring Color Photography and in the 3rd edition of Photographic Possibilities, both by Robert Hirsch. She is two-time recipient of the Virginia Museum of Fine Arts Fellowship, and has recently lectured on contemporary landscape photography at the Taubman Museum of Art. She has exhibited in solo shows in Washington, DC, Richmond, VA and Roanoke, VA, and in numerous group shows. Carr is currently teaching photography at Hollins University in Roanoke, Virginia.
Atrium Gallery, Richmond Center
Frostic Video and Sound Art Series
more information and complete schedule: wmuvideo.wordpress.com
leave any comments on the video Blog, not here, please and thank you