Above: Image from The Precession. Photograph by John W. Sisson Jr.

THE PRECESSION

The Precession, a project of Judd Morrissey and Mark Jeffery, constructs a performance of visual poetics and movement combining writing, text-mining and processing, the real-time positions of celestial objects, and depictions of the laboring body.

The Precession: AN 80 FOOT LONG INTERNET ART PERFORMANCE POEM is a 3-hour durational digital literary / visual performance art work in 10 parts. Each part lasts between 9–18 minutes. On Feb. 17  and 18, 2012 (from 1-4 pm both days) this durational event extends and activates The Precession, via a systematic orchestration of live elements within the Arizona State University Art Museum.

The artists will be in residence at ASU Art Museum starting Feb. 13 to begin remapping the work that was at Hyde Park Art Center in Chicago from Dec. 21, 2010, to March 22, 2011.

Performance components include choreographed readings of texts being generated on ASU Art Museum gallery walls, a Busby-Berkeley inspired movement sequence mixing gestures of labor with embodied formations based on the stars above the building, and live and screen-based responses to works by Sol LeWitt (the sun) and Rebecca Horn (the horned moon). A chorus will sing a song, an incoming stream of Twitter texts, and excerpts from the source code of The Precession.

Visitors may enter or leave at any point.

The Precession began with an accidental road trip to the Hoover Dam in Nevada in January of 2008 and the discovery of the Works Progress Administration sculpture The Winged Figures of the Republic. We began to look at this public sculpture in residence and presented a work in progress presentation at Firehouse 13, Providence, Rhode Island on the Spring Equinox in 2009. The work has since developed through a 6-month residency at Hyde Park Art Centre throughout 2010, a month long Residency in Performance Writing at Dartington College of Arts, UK in summer 2009, and two residencies at Catwalk Art Residency, NY. Additional exhibits and presentations have taken place at PSi 15 Zagreb, MCA Chicago, Chicago Dancemakers Forum, post_moot, poetry + performance convocation at Miami University in Ohio, ELO_ AI at Brown University, NOISE! 2010 at the Ontological Theatre NYC, and Radical Citizenship: The Tutorials organized by the Anhoek School on Governor’s Island in NYC and Southern Exposure in San Francisco.

Wings, Floor & Wall Installation by Claire Ashley

Finger Extensions (Rebecca Horn 1973) by Sarah Belknap and Joseph Belknap

Dancers

Justin Deschamps, Sam Hertz, Zihan Loo, Josh Rackliffe, Blake Russell

Can You Read My Mind: Isaac Fosl–van Wyke

On-screen Night Sky Workmen and Winged Men

Mark Beasley, Joseph Belknap, Chris Cuellar, Fred DeMarco, Ron Ewert

Charles Fogarty, Mike Fleming, The Lenox Twins, Nick Lowe, Anthony Romero

On-screen Night Sky Choir

David Arcade, Benjamin Chaffee, Walter Latimer, Abel Ortiz, Nick Williams

Video Wonderstars Daniele Wilmouth, Razvan Botea, Irina Botea

Video Editor WonderStar Steven Hudosh

Photo Wonderstar John W. Sisson Jr.

Design Wonderstar Jin Kim

Artist Bios
Judd Morrissey and Mark Jeffery have presented throughout the US, UK and Europe, with recent venues including Lincoln Cathedral Quarter (UK commissioned performance distributed throughout multiple outdoor sites), Hyde Park Art Center (Chicago), Museum of Contemporary Art Chicago, Center of Contemporary Culture Barcelona, Bergen Art Museum, House of World Cultures Berlin, Chicago Cultural Center and the Ontological-Hysteric Theater in NYC. Both artists teach at the School of the Art Institute of Chicago and were members of the seminal international performance collective Goat Island.
http://www.judisdaid.com/
http://www.markjefferyartist.org/

This visiting artist residency is supported by the School of Art, Intermedia, Graduate and Professional Student Association (GPSA), Live Art Club, and the ASU Art Museum, all within ASU’s Herberger Institute for Design and the Arts.

Other events of interest with artists Mark Jeffery and Judd Morrissey include:

 Monday, February 13

2 – 5 pm: Performance Art workshop for graduate students. Please RSVP for this workshop to angela.ellsworth @asu.edu

6 – 7 pm: Performative lecture by Mark Jeffery and Judd Morrissey

7 pm: Live Art Platform. Pieces from performance workshop will also be presented at LAP.

Workshop, lecture, and Live Art Platform all take place at the ASU Performing and Media Arts Center, Suite 127 (University and Rural). The talk and workshop are free, and so is parking.

 Click to view slideshow.

All images by John W. Sisson Jr.

Above: Visiting artist Matteo Rubbi and his crown in downtown Phoenix.

You may have seen the earlier post on this blog about “Magic Fridays” at the Museum. They are the brainchild of visiting artist-in-residence Matteo Rubbi, from Bergamo, Italy, and his girlfriend, French artist Béatrice Bailet, both of whom have shared their fine cooking and their insights with the Museum staff and lucky visitors at several congenial potlucks served in the Museum lobby.

Earlier this month, “Magic Friday” coincided Epiphany (Jan. 6), and for the occasion, Béatrice made a galette des rois, or “king cake.” This delicious confection — thin layers of pastry with a frangipane center — contained two dried beans, and the finders of those beans each received a paper crown, and became king for the day.

That evening, which was also First Friday on downtown Phoenix’s Roosevelt Row, Matteo and Béatrice took the tradition to the streets, making paper crowns with passersby outside the house in which the two artists had been staying.

Béatrice wrote a blog post about the event, which is on her blog:

http://beatricebailet.over-blog.com/article-c-r-o-w-n-96645968.html

And here is our own rough translation of Beatrice’s post, which was originally in French. Merci, Béatrice!

Every First Friday of the month, the center of Phoenix is swarmed by people.

Phoenix is the capital of Arizona, in the United States. It’s a city of extraordinary dimensions, with a density of 1,084 inhabitants/km2, and an overall surface area of 1334,1 km2 (Paris: 21,196 inhabitants/km2 for 105,4 km2!) It’s built in the Sonoran Desert, which allows it to expand without limits. This fact means there’s a good quality of life, with a private garden for everyone, but prevents those moments of meeting that occur in a city built on a human scale. In Phoenix, you don’t walk or borrow the rare shared mode of transportation. You have to take your car, even for short trips.

That’s why First Fridays are such a big success: In the arts neighborhood in downtown Phoenix, a kind of art market takes place in the evening, allowing the art galleries to stay open, the food trucks to gather, and musicians to play in the street.

It’s within this context that I suggested a crown-making workshop. Everybody was free to stop and make a crown with the salvaged materials we had available (paper, stickers, images, pens…)

Julianne Swartz and Ken Landauer are looking for miracles at the ASU Art Museum this January. As the Social Studies artists for the spring, they will be in residence much of January exploring the miraculous through people’s perceptions of it in their lives. Julianne and Ken will interview school children, ASU students and community members of all ages and backgrounds to gather a range of definitions and life experiences. Their findings will be combined in an installation of fleeting vignettes in video and sound playing on all of the Museum’s available equipment.

Andrea Feller, Nicole Herden and I have been doing advance work talking to teachers, faculty and community members about the project. We just received more than 100 student projects back from Tesseract School and ACP (Academy with Community Partners) High School, grades 5 through 12. The written stories, guided by questions from the artists, are heart wrenching and compelling. They include a child telling the story of his great grandmother dancing with the ghost of her late husband in his wedding suit to a child’s story of the miracle of her own birth to teenagers with siblings surviving near-fatal war injuries.

An incredible start to Miracle Report, the eighth Social Studies project at the ASU Art Museum.

–Heather Sealy Lineberry, Senior Curator and Associate Director

For more information, or if you would like to schedule a session with the artists to retell your own miracle, contact Nicole Herden at Nicole.herden @asu.edu.

Here are the dates of the project and the artists’ mission statement:

Artist Residency: December 26, 2011 – January 20, 2012

Exhibition: January 21 – June 2, 2012

Reception: Friday, January 20, 5-7pm; Julianne Swartz will speak at the opening.

Mission Statement:

-We will spend our Social Studies Residency looking for miracles.

-We will locate the miraculous through other people’s perception of it in their lives.

-We will interview many local residents and ask them to “describe a miracle you have experienced”.

- Interviewees will be of varied ages and backgrounds. We will gratefully record anyone who wishes to retell his or her own miracle.

-We will record audio and video from these interviews, but identities will be obscured.

-The recordings will be edited into fleeting vignettes that attempt to establish “the miraculous” through many entirely subjective perspectives.

-We will seek to use all of the available audio and visual equipment in the museum’s possession to display the recordings.

-Our installation will strive to embody some beauty, some hocus-pocus, and some unexplainable magic.

My first full day in Stockholm was fast-paced, with new experiences abounding.

My first stop was to the studio of a collaborative group of nine artists, all past graduates of Konsfack, Stockholm’s design/craft school.  Above, on the left is Linus Errson and right, Jakob Robertsson. They showed a Powerpoint of six past projects, including one at PS 1 and the V & A. Bright group working in a variety of media.

Next stop down the street was the Bonniers Konsthall, a contemporary museum (below).

Then off to visit two premier craft galleries:  Konsthantverkarna and Blas & Knada, pictured below.  Work was generally functional with a twist and, like all global craftsmen worldwide, currently geared towards the gift-giving season.

Ended the day in the beautiful Gambla Stan neighborhood and after hours of being chilly outside, stopped by to visit my fair glogg barkeeps, below:

On the subway home the graffiti caught my eye.

Tomorrow off to Gustavsberg.

Happy Yuletide greetings from the great north!

–Peter Held, Curator of Ceramics

Matteo Rubbi arrived from Italy a few weeks ago to begin his six-month residency at the ASU Art Museum, and he has already changed the way we do things here (in a very good way). Last Friday, Matteo and his girlfriend, French artist Béatrice Bailet, invited the Museum staff to eat lunch with them — mushroom risotto, quiche Lorraine, pasta Bolognese — under unusual circumstances. They called it “Magic Friday,” and there will be more of them in the future. Chris Miller, the Museum’s exhibition specialist, was moved to write about the experience:

Today the ASU Art Museum staff was treated to a delicious lunch prepared by the 2011 Furla Prize winner and visiting Artist in Residence Matteo Rubbi, and his girlfriend, Beatrice Bailet. While it’s not uncommon to find us gathered together in small groups for lunch, or the occasional birthday or going away celebration, today was a bit different. Tables were set up in the lobby and the door to the museum kitchen was open and decorated with lights, and the savory smells from within drifted out into the open spaces of the museum. Music played, laughter and conversation filled the room, and we all wore the smiles of people who were being fed. I understand there was an element of performance involved on our part, in that, while we ate in the lobby, people entering the museum would be immediately aware of our banquet. Any other time we would be doing this behind closed doors, trying to minimize the impact on the museum patrons, but today there we were enjoying a meal out in the lobby for all to see. What’s all this cooking and eating in front of everyone about?

 –Chris Miller, Exhibition Specialist

Here are my highlights:

• De La Cruz Collection, a spectacular building that rivals any museum and was thoughtfully installed with groupings of international contemporary works, dominated by paintings, that explored media and process
• Pulse fair, established international galleries who represent edgier contemporary artists, I took copious notes and photos
• Seven, an offshoot fair/installation by seven New York galleries, with, among other things, a small installation of new drawings and photographs by Anthony Goicolea, who will be in our Performing for the Camera show this spring
• Bass Museum of Art’s perplexing exhibition of sculptor Erwin Wurm, which stays with me
• the chance to spend time with work by two of the most important women artists of the twentieth century: at the Miami Art Museum Faith Ringgold’s paintings from the 1960s and 70s exploring race relations, and several installations in the private collections of Ana Mendieta’s performance videos and photographs
• the main fair, Art Basel, which seemed livelier this year in terms of the art shown and the crowds and had great programs (we saw the Russian installation artists Ilya and Emilia Kabakov, among others)
• the video programs in the pods at the main fair — which I immediately photographed for our installation crew — and projected at night outside on one of the largest screens that I have ever seen
• and, finally, the opportunity to meet and connect with artists, curators, collectors and gallerists from across the country.

–Heather Sealy Lineberry, Senior Curator and Associate Director

…the Top 10 reasons to do your holiday shopping at the ASU Art Museum Store!

#10:  Environmental friendly, sustainable, colorful handmade MuiChic jewelry, made from the tagua nut. MuiChic jewelry is fashion forward, bold and playful.

#9:  Holiday decorations from vintage inspired ornaments to handmade wreaths and wide selection of holiday greeting cards.

#8:  TOYS!!!  Our selection of toys has children and adults alike playing with our musical instruments and off –the-wall gadgets.

#7:  Our creative home décor selection is sure to add that POW to any room or dinner table.

#6:  Oaxacan Wood Carvings are handmade whimsical and enchanting folk art figures.  Each carving is an original work.

#5:  Made in Carcere bags. These unique Italian bags are made by women in prison using recycled objects, giving prisoners another chance and providing a second life for the materials.

#4:  International pieces — from Japanese ceramic dolls to Wounaan Indian baskets from Panama, you can find work from all over the world in our Museum Store.

#3:  BUESgENWARE Arts & Jewelry created by our own Tempe-based ceramic artist Mary-Beth Buesgen.  These earrings, rings and neckwear are unique.

#2: Nifty Museum Store gift cards!

And the #1 reason for shopping at the ASU Art Museum Store: Your purchase supports the innovative exhibitions, educational programming and exciting community events for which the ASU Art Museum is renowned. 

Not that you need any additional incentive, but FYI: We’re having a SALE from Dec. 13 to Dec. 23 – 30% off your entire purchase, or a whopping 40% off for Sun Card holders and Museum members.

Thank you, and happy holidays!

All photos above by Eduardo Rivera.

“So what do you do with a 2 hour layover in NY before leaving for Europe? As a native New Yorker you get a pastrami sandwich. Katz’s is no Carnegie Deli, no — but good enough to cross the ocean.”

And he even sent a photo of his sandwich:

We are now officially hungry. And a little bit envious.

Above: Juan Downey: The Invisible Architect at the ASU Art Museum. Photo by Craig Smith. 

I was taking a quick break, heading up to the third floor to visit the infamous Diablo, when this thought occurred to me. The first floor gallery of Downey’s work is a segue to the second floor gallery of Downey’s work.

Now, bear with me here, I’m definitely not claiming you can’t appreciate one without witnessing the other, but it’s enjoying the individual parts instead of the whole. The move from the first floor gallery to the second floor gallery is like taking a step forward in time. It’s a transition, an evolution really, from Downey’s earlier experiments in performance art to his work as a pioneer video artist.

While the gallery on the first floor contained mostly drawings, sketches, and diagrams, the second floor, containing Video Trans Americas, is a multi-media mash-up of video and drawing. TVs are arranged in pairs across the floor while Downey’s art, again only graphite and pencil on paper, is displayed on the walls. As I walk around the gallery, each set of TVs stares like a pair of tireless eyes, watching you while you watch them.  The monitors flash images, snapshots of Downey’s journey. For several minutes the landscape rolls by, shaky and unstable, sometimes seen from the window of a car, sometimes from the side view mirror. A woman sews, pulling thread and needle through a piece of fabric with painstaking effort. Children play soccer in the street while protesters march across yet another screen, vehemently waving signs and banners.

Regardless of changes in media, the themes remain the same. Far from arbitrary, every detail plays some part in Downey’s grand design. I feel like Downey wants to trick us, the viewers, into letting our existing assumptions about what must be complex (technology) mislead us. Without reflection we focus upon the TVs and miss the finer points of Downey’s saga. I mean, in the presence of several sets of TVs playing different videos, who would think to look at the floor? However, the TVs only make sense once you do. What initially appear to be squiggly, winding lines of tape between televisions proves to be, upon inspection, a map: a map of North, South and Central America, the very region Downey travelled through while filming Video Trans Americas. The movie clips too, taken singly, out of sequence, out of context, seem disjointed and confusing. However these are not individual videos, but segments of a whole. Dispersed over the map sketched on the gallery floor, they are the text and the illustrations to the tale of Downey’s travels.

Think that’s all? Just a deconstructed video exhibition? Where’s the fun, the whimsy otherwise found contrasting the depth of Downey’s work? On the wall, directly to the right of the gallery’s entrance, Downey plays his trump card, and it isn’t even his work.

While filming Video Trans America, Downey and his family spent nine months living with the Yanomami in the Amazon. This bright, vibrant, color-pencil art is theirs. One day, after they had spent a significant of time watching him meditate and draw, Downey gave the Yanomami colored pencils and paper. And they drew, without any prior coaching or instructions. Now, this might just be me, but I honestly can’t think of a greater and more profound contrast. Especially because one of these drawings depicts an airplane flying over two brightly color structures with a rainbow in the background.

Where did the inspiration for that even come from? There is, in my mind, an almost unfathomable distance between a video anthropology discussing invisible energies, political discourse and the Latin American identity on the one hand and the color-pencil drawings of an indigenous Amazonian tribe on the other. But for all its magnitude, this unfathomable distance does not invalidate that both Video Trans Americas and the Yanomami drawings are not only culturally significant, but also art.

Actually, I’m honestly so flabbergasted right now that I’ve run out of words. So, while I’m sorry if I’m disappointing anyone, that’s really all I have for now. I can promise more to come though; I owe that much to Diablo. Due to my preoccupation with the second floor gallery, I never even got around to visiting him. So look out for blog post three, where Diablo will get the spotlight!

–Karen Enters, PR Intern