WlcmBck Show

One thing I first wanted to mention was the play of words used in the title of the show. The elimination of the vowels, I thought, was very interesting because it was out of the ordinary but yet still understandable. It's interesting to see how the brain is still able to maintain continuity when understanding language even if parts of it are missing. 

When looking in the gallery, there was a room which paid homage to a Mason Gross alum named Lyda Craig. Of all the rooms this one was my favorite. The room carried a unified style. I felt like I was able to get a sense of who she was as an artist and was able to understand her. She had numerous self portraits which gives the idea that she has a strong psychological sense of self. She is very aware of her personality and who she is as an individual. They also appear to be very dream-like based on the bold colors she uses as well as the loosely painted lines. She appears as a modified version of herself and in some pieces is slightly fantastical. 

One of her many pieces is one labeled Untitled (figures in interior space), 1999, mixed media. There are a few other pieces with the same style as this that are also scattered among Criag's other pieces. This piece, like the others that are similar have a limiting color palette that is confined to neutral colors. This choice of color adds a very simplistic style to the work itself. She uses black, white and a lighter brown which are used to render figures and also create a sense of space. In the left-hand side of the piece, There are two figures that have their bodies turned and appear to be looking out into the distance towards the center of the canvas. The coloring between the two suggests that there is a great difference between the two, possibly something like the idea of "good and evil." The articulation of the white figure also suggests that the figure may be female. Although it is hard to tell, it seems as if this figure has long hair while the other appears to have a hair style that is dramatically shorter, suggestive of a male. These figures are also rendered much differently than the others. The two are given subtle shadowing to suggest that they are three dimensional forms while the others appear to be ghost-like silhouettes. There is also a shadow placed under the two that further suggests their three-dimensionality. Even though there is no horizon line, the shadow suggests that there is a solid form that the figures are standing on. Like the figures. the space that is created also offers a sense of polar opposites. The fully articulated figures are presented against a white background whereas the silhouettes are set against a black one. In the black portion of the piece, there are four figures, possibly a fifth that appear in different positions. There is one, the brown, that appears in motion. This one is particularly interesting because it is a cut out that has come from a rectangle that appears to the right. There is also another figure that is lying on the ground that may suggest agony or death. These figures do not appear to be aware of one another because there is no interaction or sense of acknowledgment. The figure on the floor is left unattended and isolated from the others. Even though there are a few figures grouped together, they create a sense of disconnect. 

The piece itself appears to have a psychological connotation. It appears that maybe the darker portion of the piece is meant to represent the inner psyche of the individual, Lyda Craig, and show the conflict between her various consciences or personalities. This series of this type of work also works with her others to convey a sense of psychological self that permeates throughout her work. I feel like this work appears more secluded from the other works because this collection has the same type of style but does not disconnect it from the rest of the show. In other locations of the gallery, it is apparent that the works were submitted by multiple artists rather than just one. I don't think there is anything wrong with the way this room was set up because it is meant to pay tribute to Lyda Craig as an artist. It is not entirely segregated from the rest of the gallery because like the others, it is multi-faceted in the sense that she employs mixed media and uses a variety of colors and mediums throughout her various works. 

In the main room of the gallery, there is a large piece that hangs on the far wall. It is a rectangular piece that is hung differently from the others. It is set higher and therefore grabs the viewer's attention. The piece is by Raphael Montanez Ortiz. It is titled The Dark Side of Liberty and is a computer generated painting. The piece depicts the Statue of Liberty as its focal point and center of attention. The Statue commands the attention of the viewer and also places emphasis on the value of liberty. The Statue is set against a dark background which is meant to give off a negative connotation. At the foot of the Statue there are protestors in possession of banners that are against immigration laws. There is also a body of water in the foreground in which there is a number of Mexican men clinging to a floating object. Here he is making a harsh gesture towards the idea of illegal immigrants coming into the country. For the most part, the message is very straight forward. Based on this message, I think that Ortiz is trying to show that in his mind, liberty was once a cherished thing that meant opportunity for people and a light of hope in life but since feels that people (immigrants) are taking advantage of that. In his opinion it is very wrong and tarnishes the image of liberty. The scene is accompanied by a reasonably sized group of text that further exclaims the damage that immigrant invasion has done to the country and especially to liberty. This idea is firmly backed up by a set of tornadoes that are placed in the background. These elude to the idea that the invasion of illegal immigrants has caused devastation and havoc to the United States just like a tornado does by nature. 

It is a very alarming piece that I felt set itself apart from other pieces in the gallery. Because of its bold gestures, my focus kept being directed towards this piece. I felt it was very extreme but yet I give Ortiz credit for taking a touchy subject and offering it to viewers in a very provocative and confrontational manner. Since it is very confrontational, I feel like it segregates itself from the rest of the pieces because it makes the viewer uncomfortable. Although I feel like this may have also been one of the goals of the piece, I feel like it also imposes itself negatively upon the other pieces. I could see this gallery show without this work. Even though this show was not meant to carry a specific theme, I felt that the rest of the works were visually more light-hearted. I applaud the curators for working with the piece because I felt that they worked with it as much as they could. The other pieces that surround it in the room seem to reference other cultural issues that deal with the environment and the media as well. That being said, it introduces us to the next piece entitled Syn by Patrick Strzelec. 

Syn is made from cast aluminum, limestone and stainless steel. It is a sculpture that appears mostly abstract. It sits in the center of the main gallery room atop a cubed pedestal. The placement of the sculpture on the pedestal makes it more available to the viewer. It is not small so a viewer would not easily walk past it. This also creates more interaction between the viewer and the artwork because it is placed around midpoint level with the torso. The shapes it creates references the shape of a nail that appears to have been melting. The forms are fused to one another at many different locations to create an aerodynamic setup with the ability to stand still on a pedestal. 

The most interesting part of the piece is the color that is used. The green transforms a visually stunning piece into something that is extremely eye-catching. The green seems to me that it references the environment. The term "going green" has become a popular idea in culture today. A vibrant green, like this, is used to represent our Earth as well as deliver the idea of creating a more healthy planet. The interesting part of this color being paired with these forms is that they are two totally different things. The forms look like nails which are man-made and derived from materials that are also man-made. The green may represent the organic aspect of the world such as the foliage, plants and overall environment. The materials that are used to make the piece are also an interesting combination because it consists of stainless steel and cast aluminum which are man-made but also utilizes limestone as well, a material found in nature. These combinations of materials are interesting and appear to be planned. The overall message meant to be taken back from the piece is that nature and man coincide with one another and will continue to do so. Regardless of the many acts of "going green" in today's society, nature will always be confronted with industrial, man-made forms.  

Syn works well with the other pieces that are shown in the main room because it utilizes color like most of the other works do. That, in a sense ties them together. The message is also another factor that ties together the work. Like The Dark Side of Liberty, the piece seems to connote a sense of cultural awareness and an investment in cultural issues. The location of Syn works well with the rest of the show because it is exhibited in the center of the room and given enough space in order for the viewers to fully walk around the piece. It would not have worked well placed in another room because the rooms would have been too tightly packed and the sculpture would not have been able to be experienced to its full potential. It also works with the other pieces because it is very contemporary and also abstract. 

The final piece in the show that I will be talking about is a piece entitled Reynolds Girls by Kate Pollard. This piece is a smaller photograph that depicts an older woman who is flanked by two apparently younger women, possibly family. The two on either side appear to be comforting the older woman. Their heads are bowed with their arms around her. They appear to act as a stabilizer for the older woman. The older woman's body language suggest that she is in a fragile state. She seems to be leaning on the brunette for support. Another support of her being frail is the white band that appears on her wrist. It looks to be a hospital bracelet which notes that she is not only emotionally frail but may also be physically fragile as well. The setting appears to be mundane. It is as if the women were sitting in a kitchen but were suddenly overcome with emotion. It is possible that something dramatic has happened to the older woman or someone that she knows. The act of writing on the calendar and the cook books sitting on the right of the frame further suggest the mundane attitude of the scene.  

The piece itself is very intimate. It seems as if it is a moment that we as viewers are not allowed to see unless we were someone close to older woman. It is  different from the other pieces in the gallery because they are more abstract in form and idea. This piece on the other hand, acts as a captured moment or representation of time which makes it different and easily separate from the others. It works with the others in the sense that this is a show in which there is not a theme  and is meant to show the collaboration of different types of artists (sculptors, painters, photographers, printmakers, etc.). Generally speaking, I feel that this piece would be more fitting in a different show.   

Interview with Travis Part II

So I though that just the interview wouldn't do his work justice so I chose to show some of Travis's work. When looking at the work, take into consideration the statements he had said about himself as an artist. Enjoy!

This was the piece he had done in a friend's basement that is constructed with found materials. 

This was the tree from his sketchbook that was meant to note a segmented tree. 

Peer Interview with Travis Johnson

This is an interview with Travis Johnson who is currently pursuing a B.F.A. with a concentration in printmaking. 

Danielle: Can I ask, what kind of materials do you work with in your medium?

Travis: To tell you the truth I use a lot of found materials, paints that I find etc. 

He spoke about how he painted a friend's basement with one large mural that varied in subject matter but was very interesting and colorful. He explained that everything he used was a found material. It consisted of things he had found that were already in the house. I thought this was interesting because it references the readymade. The way he works is also limiting to himself as an artist because he is forced to make art with limited resources but has the ability to adapt. I think he said that the mural he made took him 2 months to construct and cost him only a dollar and change. I was amazed.  

While looking at his sketchbooks, I felt privileged because I felt like I was able to see an aspect of his inner artist that I feel like a lot of people might not have the opportunity to experience. The sketchbook contained a number of drawings as well as text, which was interesting. The pictures were of numerous subjects such as people and animals as well as designs. My favorite sketch was of a tree. It filled the page and was oriented vertically. Segments of it were covered by Post-its which, when uncovered revealed a blank page. When I asked about his thought process on this sketch, he told me that he was on Douglass campus and saw fragments of a tree that had been chopped down. This sketch was meant to represent the tree as he saw it in pieces. I thought it was extremely interesting and thought that it was very strong conceptually. This was when I saw that he had a very interesting thought process and would see more interesting works to come. The text that was included in the book, for the most part, did not correspond with the drawings. The text served more of a documentation process, which may be useful in his work. 

D: Do you have any specific interests that you'd like to pursue? Possibly a certain interest towards the environment? (This came from things I had seen in his sketch book) 

T: Not really. I wish I did. I always wish I had taken strong interest in anything, have a cause, like a cause you're willing to die for…something you're really passionate about. I haven't found them. I've tried them. I've tried the environmental thing, tried to support the war in Iraq (support the troops). I've tried a lot of angles but my heart just isn't in it. So, I've been rolling around in life taking pictures and writing notes about things that make me think…I really have an aversion to electronics. I use my laptop and listen to music all the time, but I wish I didn't. It's like everyone is hooked into texting and ignoring everything that is going on around them. So I really would love to do things that would distract them from that

D: Like something more organic?

T: Not really. I like looking at things that make me turn my head sideways and think "hmm." I'd like to be able to make other people do the same thing, to make them think for a moment, even if its completely stupid. Like drawing a smiley face upside down or something. It makes you think for a second. 

D: Maybe you could look at something like how technology affects nature. Like thinking about how we take things in nature for granted because we have technology.

T: Yeah, the other day I walked onto the bus and saw that everyone was wearing headphones, sitting alone totally disconnected from one another. I just want people to realize and turn their heads sideways and see that other people are doing the same. It want to get people talking. 

D: I think that would definitely be something to go for when you think about thesis. Have you had any ideas for it?

T: No, not yet. I feel like I have to involve printmaking somehow so I figure I'll make a mural and include a bunch of prints in the middle of it; have it be a mixed media mural. Then I would like to create some sort of environment in a corner. Like have sound playing and have you walk into the environment so you're no longer in a gallery but are surrounded by something else. 

D: Did you want to separate the two? Have the mural and the environment not be in the same room?

T: No, no. I'd like to create an environment so it would be about everything you see, everything you hear. Usually when you're standing in a gallery everything is sterile and white. 

After this statement, I suggested that he could incorporate the ceiling and floor in working towards creating an environment in the gallery. He generally like the idea and thought it was interesting because it is not something that one would normally see. 

We looked at another sketch book. The questions begin with asking about the content of that book. 

D: I feel like this is a lot like your other book. Is this one any different?

T: They're similar. I bring this where I go. These are my thoughts and what I see. This is what I use when I don't have a camera. ill draw something out that i see. it keeps me out of trouble. A lot of things I do are mainly just recording things that happen around me. There are nonsensical things that come from dreams. What I like about drawing is that you can use whatever is lying around

D: (In reference to a drawing) What is this?

T: These all started turned into a printmaking final I did called Possibles, Not Probables. Where there were a couple sentences long of stories of things that could happen, but probably would not happen. 

D: Did you use pictures in these prints? 

T: Not for all of them. 

D: Do you work a lot with text? Because I feel like you have a lot of text in here. 

T: This is also a book that I took to Europe. Since I didn't have a camera so I used this to write out dialogue…I just tried to write everything down. 

D: How do you feel about illustration?

T: I don't know. I mean, if you look through here the styles aren't consistent. 

D: So do you have any kind of influences at all like any artists that wow you or make you want to do work like them?

T: Absolutely. There this guy named David Cho. I'v meet him on several occasions. I admire artists who use what they have to create. 

I enjoyed looking at Travis's work. I, unfortunately was not able to go to his studio because he doesn't have one but I think his sketch books definitely took the place of that. He did at one point try to have a silkscreen lab in his basement but was unable to maintain it. To me, Travis doesn't appear to be an artist that necessarily needs to be in a studio to create work. It seems like he works by experience, which is evident in  his sketchbooks and his trip to Europe. I really think that works for him because I believe he discovers his creativity through walking around rather than keeping himself to a confined space. I think it makes his artistic process unique and interesting. As for his style, I feel like he is still trying to develop what makes him an artistic individual. He appears to have different interests in different mediums such as both painting and printmaking. He's also interesting in silk screening. He uses a great deal of lines in his work which is very interesting. The subject matter, although it is not too uniform, carries whimsical, dream-like characteristics (some of the figures being fictional or totally made up). It is apparent that he does not work photo realistically, but more like graphics.

  I am looking forward to seeing what he comes up with for thesis. 

Water Show Critique

Friday I went to see Water, currently on display at the Zimmerli Art Museum. Our group was led by the curator herself, Donna Gustafson who told us a little about how she set up the show, etc. When we first walked in, we were able to see an eye-catching piece by a New Hampshire artist entitled, "Ice and Ark." In this piece there was a net that hung from the ceiling, holding 300 bottles of luxury Berg water. The piece itself was meant to incorporate the environment, attacking the growing problem of global warming. I feel that the piece is very bold and a great choice for opening piece, but I feel that it may give gallery-goers the first impression that this show is entirely on global warming and environmental awareness. 

The show consisted of many existing works that were borrowed from the gallery itself and also accepted from other galleries such as Princeton University. The gallery was divided up into sections such as Water in Landscape, Urban Water, Women in Waves/Men on Boats, etc. For each section, the curator chose pieces to fit into each category. Doing so, I felt, raised a curious question…if the curator groups pieces in a certain context, does that change the meaning of the piece itself? I continued and asked the curator if she tried to keep the artist's original interests at heart but she replied and told me that she did not know their original interests and set up the show according to her own interpretation. By doing so, is this violating the artist's artistic vision? I feel that in a sense we are overriding the artist's creativity by doing this. It is understandable that the curator could not possibly know the exact intent of each artist in the show but it is not exactly her right to change the artist's vision by giving pieces a specific classification. I don't think this would be so much of a question if the labels were eliminated. Towards the other end of the spectrum we could also ask: when an artist submits work to a gallery, to the hands of a curator, are certain rights to the work being forfeited? Regardless, the pieces stand on their own and don't need help from text. Classification, in this case, is problematic. 

As we went through the gallery space, Gustafson mentioned that she set up the show in a specific order that when walked through a specific way, it completed her artistic vision. In my opinion, if she had not mentioned that, I would not have known. If the show was meant to be experienced in a specific way, it should have been made more apparent. One thing I thought was interesting about the setup was the decision to paint the walls. The paint consisted of different shades of blue. It is interesting because gallery walls are normally white, so I felt that this grounded the whole idea of expressing the idea of water in a way that we identify it unanimously.   

The pieces themselves were all very interesting. One of my favorites was Iceberg II, Disko Bay, Greenland, 2004 by Lynn Davis, a black and white photograph. It was absolutely beautiful, showing us a side of nature that we don't normally have the opportunity to see. What's interesting to see was that the show was multi-faceted.It showed not only water, but also water in its solid form, people and water, and nature forms associated with water. The piece I felt that spoke the most, however, was in the latter part of the gallery, Piaus, 2006 by Atul Bhalla. This piece consisted of 20 color photos depicting the state of drinking water in urban areas. It was a very powerful piece because it makes the viewer more aware of an issue that may not have ever been questioned or fully contemplated. It breaks the mold of the common misconception of feelings that we experience when we hear the word water, showing us that there are places in the world in which people are forced to live the reality of having dirty and unhealthy water to drink on a daily basis. 

Overall, I think Water has reached its goal of showing the viewer that we experience water on a day to day basis through many different ways. The brochure for water also mentions that the goal is for viewers to "immerse" themselves in water which is definitely accomplished and accentuated through the painting of the walls and artwork that surrounds the individual (sculpture from the ground up, installations from the ceiling and pieces hung at eye level around the gallery). There were many strong pieces in the show and it is something definitely worth seeing. 

In my own curation…

If i was given the opportunity to curate the show, I would have combined the categories of work. I chose these 5 pieces specifically because they are not all featured on the wall but on the floor and from the ceiling as well. I feel like this aspect of the show would work more towards the concept of water and how it affects life. In a sense, water engulfs us. It is everywhere we look, stand and are (since we are filled with more than 75% water). By putting various instances of water together, we are linking them visually as well an conceptually.  

My first choice would be the hanging installation by Ross Cisneros, Ice and Ark, 2009. It consists of a large fishing net filled with 300 bottles of luxury water. This piece is both memorable and very large as to attract viewers and induce importance upon the show. This piece would be followed by a colored woodcut entitled The Sea at Satta, Suruga Province by Ando Hiroshige. This woodcut shows an oceanic landscape that surrounds Mount Fuji. The focal point is a large wave that appears to be in the distance. I would show this piece in the beginning because people will be able to identify with the idea that it is a common representation of water. What makes the piece interesting is that it is a landscape from over seas and may not have been an ocean we would readily think of when asked to describe one. The third piece would be a black and white photo entitled Iceberg II, Disko Bay, Greenland, 2004 by Lynn Davis. The photo depicts a large iceberg that rests on a body of water. It is an interesting piece and would serve the purpose of showing a different source of obtaining water as well as representing water in its solid form. Following this piece would be a series of 20 photos by Atul Bhalla entitled Piaus, 2006. This piece, I feel, would be extremely important because it exploits the topic of "urban water." This piece is a typology that shows different water sources in urban areas that do not look particularly clean. Most of the plumbing looks out dated and appears to be falling apart. It is an important idea that needs to be instilled in the minds of the viewers because it is an issue that may not have been made known. The last piece in this series would be the piece by Maya Lin entitled Dew Point 18, 2007. It is an installation of blown glass that sits on the floor. Having these pieces together, in my opinion, would better connect the idea of water. These pieces may have different categories but are all connected by the common theme of water and should therefore be laid out in that way.