View current page
...more recent posts
October Exhibition Diary 3. I spent the last two days installing Molecular Dispersion (Vertical) in my studio in preparation for the Jersey City Artists Studio Tour tomorrow (Sat-Sun, Oct 5-6, 12-6 pm, maps at Grove PATH stop, I'm Studio 17, come on down!). It only took about 9 hours to put up, but I took a lot of breaks, trying to figure out what the thing was supposed to look like. Oriented vertically, it's less the bramble it was in my apartment and more of a f*ed up dymaxion shape. I say f*ed up because the polygons don't "close" the way they do in a true geodesic structure. The piece is only an illusion of a sculpture (it weighs about a pound, all of which is held up with pins), so there's more opportunity for fun and games: pseudoEscheresque spatial gags, struts that just kind of stop in midair, and passages assembled for no reason other than that they make nice color combinations. Because the piece is vertical, I had a devil of a time keeping it from being anthropomorphic. The "dispersion" in the title is a coy reference to the postminimalist Alan Saret, who made "sprays" of painted chickenwire that were very theoretical back in the day (early '70s) but look rather forlorn now in museums. I think my piece looks forlorn, too, and it's brand new!
Photography is going to be a problem, because there is no way, even with the wide angle lens, to frame the entire 14 foot length of the wall. Also, the walls are super-shiny so the light is super-uneven (but only in the camera--in person the three overhead fluorescent panels provide almost gallery-like lighting). Also, I'll have to disable the flash, since it creates laser beams bisecting the image. Below is a head-on image; the piece will occupy most of the wall where the test strips are hanging (see upper right).
Back to the Jersey City Artists Studio Tour: the Jersey City Reporter came out yesterday, with a spread on the tour. My name was listed under "N" (along with about seven other Ms) but they got the location right on the map. My studio is Number 17 on the tour map. The city mails out balloons (leftover from the Mayor's last campaign, I noticed) which we're supposed to hang outside our studios, along with a big number. This week I'll be test-driving the spheres and struts I'm using for the elevator piece by installing them vertically in the studio--a kind of practice run for the DUMBO event. (Here's how they look oriented horizontally).
I have two exhibitions coming up in October, and plan to use this weblog as a kind of "show diary." (I'll try to make it as entertaining as possible.) I've been leasing a studio in Jersey City since I joined the diaspora out of Manhattan a couple of years ago, and although I'm giving up the space soon, I couldn't resist participating again in the Jersey City Artists Studio Tour, which the burg puts on every year to enhance real estate values--I mean, showcase all the creativity in the community. Ironically, the city government has been pressuring my landlord to get rid of his artist tenants because we're "non-conforming users" under the zoning laws, and I should be boycotting the tour because of this. However, since I'm vacating anyway, I won't get on my high horse about the city's TOTAL F*CKING HYPOCRISY. Anyway, the dates are Saturday and Sunday, October 5-6, 12-6. If you're interested, take the Newark/Journal Square PATH to Grove Street and they'll have maps at the station. More on this as the date nears.
I'm also participating in The Freight Elevator Project 2, curated by Ombretta Agrņ, which opens October 18 in connection with the D.U.M.B.O. Art under the Bridge Festival (click here to see the e-card). I'll be installing a large temporary piece in a freight elevator at 50 Washington Street in Brooklyn, which will stay up for the three days of the festival. I plan to create a 5 X 14 foot "wall molecule," and one of my challenges is how to attach strips of pre-cut, computer-printed paper to the elevator's supersmooth, aluminum-clad walls. Yesterday I went in at 4:30 pm to do a test, mounting several strips of paper using different brands of double-stick tape. My plan was, since they close the elevator for the weekend, I'd hang the strips on Friday evening, then come back Monday morning to see what was lying on the floor and what wasn't.
I'd supposedly cleared all this with the DUMBO festival organizers and the building management, but it became immediately obvious once I got into the chaotic environment of the building's VERY busy end-of-the-week freight delivery schedule that no one had a clue what I was doing. The "test strips" must have looked like art, because they aroused immediate commentary and implied threats from the construction workers, delivery men and custodial staff who were coming through on the average of one every five minutes. I mean sh*t, these were just white strips and circles of paper with the words "TEST PLEASE DO NOT REMOVE" in generic block capitals, but for the half-hour I was hanging them I felt like Robert Mapplethorpe.
It wasn't too encouraging seeing boot prints three feet up the sides of the elevator, as if some testosterone-crazed nut had been in there for the previous three hours jumping up and down pretending to be Peter Parker. Equally troublesome was the quartet of construction guys, knocking off work and heading for attitude adjustment hour, who all felt like they needed to weigh in. The one with the thickest neck looked at the strips and said sarcastically, "I'm not even going to say anything," and then said: "You know, that paper's going to be up there for about an hour." "Yeah," said another, "See these boot prints? Wait'll that guy gets in here." They all had a hearty yuck. It was like being back in gym class. Anyway, I hung the strips close to the ceiling, above the control panel, in a kind of grid, thinking it might fool someone into believing it was a template for some new controls. One artist got on at the 5th Floor, where they have studios, and studied the strips intently all the way to the ground floor. (The finished piece won't get that much sustained attention!) And yes, like an idiot, I'm going back over there Monday morning to see if anything survived.
On this inspiring web page, New York artist James Hyde documents a visit he made to London studios a couple of years ago. Few people I know were terribly moved by the YBA (young British artist) work forcefed to the U.S. in the mid- to-late 90s. It was just so art-smart, riffing on famous pieces the recent grad students had seen in slide lectures at Goldsmiths, or wherever. Hyde has tapped a vein of real eccentric creativity, however. He writes:
"[In] March of 2000, I was in London to install my exhibition at Hales Gallery in Deptford. I managed to clear a week to steep myself in the new local culture. Much of this involved beer, crisps, curries and negotiating a maddeningly managed public transit system.
"I visited a number of studios. The locations ranged from rooms in a very domestic house to a council flat to various industrial spaces. There is an architecture to how an artist's workplace is organized. I photographed these studios to attempt to draw out the intimate and sometimes subliminal dialogue between art objects and their [original] scene."
The photos, taken with a digital camera (I assume), are gorgeous, cryptic, semi-abstractions, very much reflecting the style and sensibility of Hyde's own art (according to his website he has a show up at Brent Sikkema right now, but I haven't seen it yet). It's fascinating to see his eye at work, cropping and zooming in on studio details: materials strewn casually around, half-finished pieces, product packages, photos pinned to walls, puddles of brightly colored goo. Pieces by Daniel Coombs, Kathrin Boehm, Keith Wilson, and others show me a side of the London scene I wasn't so familiar with (Deitch artist Richard Woods had a nice, underappreciated show at Cristinerose a few years back, but I'm seeing some of the other artists here for the first time). Kudos to Hyde for his curiosity and enthusiasm.
In this thread on Jim's log, we've been discussing energy, which is, let's face it, one of the main reasons our one-track-minded President is trying so hard to get us into a war right now. One issue that came up is the popular myth that back in 1979, Jimmy Carter urged Americans to wear sweaters and turn down the thermostat to 68 degrees, an image trotted out by right-wing commentators to show the impotence and nerdiness of energy conservation (as opposed to the Cheney approach, which is to secure foreign oil supplies by force). The only problem with the Carter story is it isn't exactly true. In the "crisis of confidence speech," given at a time of gas lines and rationing, Carter urged Americans to turn down thermostats--perfectly sensible advice--but didn't bore us with a precise setting. He also didn't say anything about sweaters. Yes, he was wearing a sweater, as he had been doing since his Inauguration in '77. Admittedly dorky, the cardigan was meant to be a symbol of his laid-back Populism, after the Imperial excesses of the Nixon years. It had nothing to do with energy--that's pure Republican disinfo. Unfortunately it's become tenacious urban folklore, as a Google search of "carter sweater thermostat" shows.
I've been looking at Joshua Micah Marshall's Talking Points Memo a fair amount lately. While he's good on his facts and scholarly in his argumentative approach, he still comes off as another Washington wannabe hanging out with the same tired government types, chasing the same types of leads, and reaching the same namby-pamby "consensus" as everyone else. He favors invading Iraq to install leadership more to the US's liking, for example, only disagreeing with Bush et al over the timing and the methodology--a viewpoint not likely to get doors slammed in anyone's face. (Karl Rove wants the media talking about Iraq to get their minds off Bush ties to corporate mal-fee-ance: who is Josh to buck the trend?) Folks constantly change hats in DC, from government to lobbying to media to think tanks, in an endless (lucrative) circulating flow, and if you're a pundit you inevitably pull your punches, since the person you're criticizing today might be working in the same office with you tomorrow. That's the suckup trail Marshall appears to be on. By contrast, a lot of what the west coast pundits (Counterpunch.org, Antiwar.com) print is paranoid speculation, but at least they call'em like they see'em and don't have to worry about "offending a potential source." The granddaddy of unimpeachable commentators, of course, was I. F. Stone, who worked solo, burrowing through government records, drawing intelligent conclusions, and printing the documented dirt. That's what Talking Points Memo should be like--instead of "I called Jane So-and-so in Senator Such-and-Such's office and I'm still waiting for her to get back to me..." or "I'm appearing on MSNBC tomorrow so be sure to tune in..."
Update, January '06: Marshall was wrong to support the war--got sucked in like a lot of other centrists by the disgraced Kenneth Pollack's BS--but most of the rest of this post was unfounded fretting. Marshall has done terrific work tracking government shenanigans--particularly during the Bush push to destroy Social Security. And he recently moved to New York.
I started an archive of the molecular wall-drawings I've been doing recently. I spent several years in the mid-'90s using this type of stick-and-ball model in paintings, drawing the struts and spheres in pencil and laboriously hand-rendering them with acrylic paint. (Now I hand-paint them in the computer, and frankly, the only thing missing is the repetitive stress injury in my wrist.) The constructions started out based on actual complex molecules, but then I started looking elsewhere for patterns: For example, in this piece from 1994, I snapped a photo of Curly Howard of the Three Stooges off the TV (from the short where he's a plumber and ineptly builds a cage of leaky pipes around himself) and used the cage as a model for a "molecule."
It just dawned on me recently that in all that work, I was somewhat pathetically regressing to the level of playing with tinkertoys, a product I had a love/hate relationship with as a child. I liked the look of them but they never really worked after you used them a few times, because the split ends of the wood sticks wore out and lost their spring. They fell right of the wooden "wheels" and nothing complicated could be built. In contrast, my molecules can be any shape because there are no guide-holes and gravity is not a factor.
At any rate, thinking about that product led me to the Hasbro website, where I was amused and depressed to see that tinkertoys are still being made, for "pre-schoolers." My theory is that boomer parents only remember the good and not the bad aspects of the classic (read archaic) toy and want their kids to "experience the magic." One design caught my eye in a page of overly-complicated, somewhat loaded examples of tinkertoy constructions for tots to build: a stealth fighter, so the little Rummy or Condoleezza in your household can play Kill the Bad Taliban Man.
This led to my own molecular stealth fighter:
Giant Reptile News. My brother Brad forwarded this photo of a massive alligator found in Missouri City, TX, a Houston suburb. A construction worker discovered the creature lying in one of the concrete pipes shown in the photo. According to animal control officers, it weighs just under 2100 lbs and is 18 1/2 feet long. It was taken to Brazos Bend State Park (28 miles south of Houston), where it was released.