When Religion and Art Are One...

Check this out! Architects from around the world are currently competing for most appealing sukkah design. Twelve winners have been selected to have their sukkas fabricated and placed in Union Square for all to see until October 2. Through this process, people have the opportunity to learn about different types of architecture and to think about the meaning of this ancient holiday, which in the contemporary idiom serves to remind us how lucky we are to have such bountiful harvests / so much to eat, and remind us of our obligation to help those less fortunate than us, though who might permanently live in temporary shelters... Talk about how art can be a vehicle that adds meaning to life...

P.S. In my book the 900 sukkah will always be the winner!

Performance

Jimmy DeSana, Marker Cones, 1982. Silver dye bleach print. Whitney Museum of American Art.

Yesterday Mitch and I visited the Whitney Museum of American Art, where there's currently an exhibition on performative actions captured through photo or drawing. We particularly liked Jimmy DeSana's Marker Cones (1982), which you can see above, because it reminded us of an experience of our very own, which you can see below.

I initially loved the idea of capturing the essence of a performance in a snap shot, but after seeing DeSana's work and recalling all of the laughter brought about by getting stuck in a traffic cone with Mitch one silly college night, I was reminded that a still can never capture the full range of emotions that come with an experience. I'm not sure if that revelation was disenchanting in the sense that it made the exhibition less meaningful to me, or if it just meant that the works in the exhibition were a type of art other than performance, but it certainly made me nostalgic for my good old UofM days for the first time since graduating nearly a year ago...

Meaningful Conversation

I just finished reading Richard Polsky's book I Sold Andy Warhol (Too Soon). On the whole I found it a bit kfetchy, (winy if you will), and cathartic in the sense that Polsky spends the entirety of the book recounting the history of the rising value of Warhol's Freight Wigs to ultimately make the point that he could have made more money had he been patient and not sold the one he owned so quickly. (A story not unique to the art world, after all everyone has a should have, would have could have story...)

With exception to the book's great cover, the only other part of the book I found valuable was the following line: "Most paintings are like one-liners; once you get it, that's the end of the experience. The best works of art...reveal something fresh whenever you look at them (p.237)."

On that note, Mitch and I have begun what I'm calling "virtual collections." This means we've created photo albums on Facebook that contain images of works of art that speak to us in some way - images we are happy to look at again and again because of their aesthetic, symbolic, or narrative qualities. We're hoping this idea will be contagious and that many people will start creating virtual collections...

My father pointed out virutal collections are a form of "disruptive innovation." Disruptive innovation is Clayton Christensen's theory that innovations disrupt existing markets by creating products or services that are more accessible, and though they are often less powerful they are still good enough to get the job done. So, while virutal collections may not be as moving or inspirational as seeing the real works in say a museum, for most people they might be good to get the job done, good enough to encourage them to think about art!

Perhaps the best part of virtual collections are that they can provoke conversations that start with, "Hey, I saw that new piece you posted... What do you like about that piece? What's that piece about?" As apposed to, "Saw you hit up another party last week..."

After all, there's nothing better than meaningful conversation - supposedly it's the key to happiness!

Discoveries

Okay, so Eilidh Crumlish is not really my discovery - I actually happened upon her on Eyestorm, but her art is awesome, right? (For those of you who don't know Eyestorm, you should check it out; it's a cool website that makes the purchasing of art accessible by showcasing up and coming artists whose works are [for the most part] not outlandishly priced.)

I'm drawn to the colors Crumlish uses, the layouts she chooses, and her off the beat style that lies somewhere between Impressionism, Pop Art, Colorfield Abstract Expressionism, and Arts & Crafts... More specifically, she paints outdoors in Italy and Scotland, often creating large planes of solid, sometimes in-your-face colors, using plywood as her canvas, and occasionally inserting kitschy patterns.

While I could do without the wallpaper-esque patterns in some of her works, (which you can see on her website, as I'd rather not copy them into this post,) I do like the natural swirly pattern that's a product of the plywood she paints and prints on. In fact, I emailed her to see if she ever shows in NYC because I want to see what the unique wooden texture does to the feeling of the work; unfortunately, I never heard back from her so I guess I'll just have to imagine for myself, unless any of you know where I can see her work...

Having recently determined to begin purchasing original works of art, (part of the reason I want to see Crumlish's work first hand,) I have been showing Crumlish's work to friends, fellow gallery girls, and family... Here are some reactions:

"Like Rothko." (Certainly true in the case of the above work, though Crumlish's work is obviously less abstract.)

"Like Michael Craig-Martin." (Subject matter is entirely different but I do see the similarities in Craig-Martin's colors and the colors Cumlish used in the work below...)

"I don't like the telephone wires." (Okay, I hear ya, but how awesome are those colors?)

Thoughts?

Art Fun

Zach just reminded me of this interactive Pollock site via an email including nothing more than the link and the phrase "hehe," which I feel describes the fun, kitchy, silly site perfectly. I love the site because it engages people, art lovers and not, in an art related activity, however, this means of creating a Pollock defies the most major innovation that Pollock made to painting: the use of the entire body to paint! To see what I mean, and to counter balance the ridiculousness of the site above, watch the video below that captures Pollock hard at work...

Perfect Imperfections

I found this photograph on deviantART.com, it is by an artist named Siols. To see more of her work, check out her website. In case you can't read it, the quote on the model's legs says "I am far from perfect but I will be perfect for that imperfect someone who is perfect for me."

A Step in the Right Direction

Nowadays, with the availability of cheap and frequent flights, all types of people have the opportunity to travel. And of course, with the all too common, excessively long delays and unavoidable layovers, travelers spend more time in airports than ever. The San Francisco art community has capitalized on these fortunes and misfortunes, by bringing art to the airport - art to the masses. The San Francisco International Airport is the first airport to be accredited by the American Association of Museums, housing exhibitions loaned from other institutions as well as exhibits planned specifically for the airport. Statistics show that some 10% of people passing through the airport actually stop to take a look at the works on display, which are changed and rotated on a regular basis so as not to bore frequent flyers. In a given year well over 350,000 people take note of the eclectic art displayed in the airport! That means that each year there are 300,000 more art viewers at the airport than at the average museum!*

For those of you who don't know, my life goal is to make art available and accessible, physically, psychologically, and intellectually, to people from all backgrounds. Thus, in my mind there is nothing greater than public art that engages people, capturing their attention by provoking thought and raising questions, in the way the art at the San Francisco airport does.

The existence of programs like the S.F. airport-museum program is particularly important at this period given that traditional museums, much like churches, synagogues, and temples, no longer work for most people. More explicitly, the main goal of such institutions has always been to add meaning to people's lives, however I speculate that for most they no longer do so for two main reasons: 1) People have found other outlets to stimulate them and produce meaning in their lives, even if those outlets are sometimes bunk, i.e.: television. 2) People want instant gratification; in a fast paced society, people don't have time to visit an institution that only has one function, nor do they have the attention span necessary to do the research that makes the tool, be it prayer or art, function.

Given these pending problems, here are a few key questions we must address in order to fulfill people's needs as we enter this new stage in human development: how do we produce bite-size (not in the physical sense) art that isn't dumbed down? In other words, how do we make art accessible to people, including people with no art historical knowledge, without sugar coating it or diminishing its multitude of dimensions? How do we provide people with the opportunity, and perhaps even encourage people, to engage with art on a regular basis and how do we make such art understandable? What is the best forum through which to do this?

Off the top of my head I can think of several important artists who have used public art to engaged large numbers of people, making them conscious, aware of their daily routines / existences and asking them important question about society at large.

Take Richard Serra and his Tilted Arc (1981), which was commissioned by the U.S.'s General Services Administration Arts-in-Architecture program. Titled Arc was designed by Sera in 1981 and placed outside of Federal Plaza that year. The work called attention to the space in which it laid, a place that thousands of people passed through daily, without ever thinking about or noticing - in other words, regular passersby took the space fore granted.

However, once the piece was put in place, people finally began to notice the space it occupied! In fact, it caused such a ruckus that after a long and heated public debate Titled Arc was taken down because it was so disruptive! Some people feared that it was a terrorist threat because bombs directed at the federal building could be thrown over it; it prohibited others from taking public transport at night because they worried about the invisibility of people on the other side who could potentially mug, or harm them. It caused people to question their notions of security, of familiarity, and it forced people to live with a greater sense of awareness, to live more conscientiously, more alertly. Additionally, it became a target for urination, which brought up questions about homelessness, about poverty, and how on both governmental and grassroots level poverty related issues must be dealt with. And of course, the fact that this mammoth, shield-like work that was ultimately disruptive and upsetting, was installed in Federal Plaza, undoubtedly calls attention to the role of the government as both protective and at times oppressive.

In one concise sentence, Tilted Arc, changed the entire environment of Federal Plaza, forcing people, both consciously and unconsciously, to question and make meaning of societal issues they had once overlooking and parts of their lives that had simply become routine.

I don't know if you'd consider this attempt at capturing people's minds, guiding people to think about meaningful and important aspects of life and society, successful given that Tilted Arc's presence in the public sphere elicited frustration, annoyance, and even anger, but at least it made big a enough stink to bring art into the public sphere!

1. Richard Serra, Tilted Arc, 1981. Steel. Federal Plaza, NYC. Dismantled in 1989.

* To read more about SFO museum project, check out an article called "Flying Through San Francisco? Stop to Enjoy the Art," on the NPR website.