Posts tagged ‘events’
This Is Not America: Protest, Resistance, Poetics, on view now at the ASU Art Museum, gives a startlingly fresh look at the intersection of art and social change through allowing works to converse with one another. Curated by Julio César Morales, with assistance from ASU College of Liberal Arts and Sciences graduate student Indira Garcia, the three-part exhibition pairs works from the museum’s collection with those of emerging and established artists in a sort of “question and answer” format.
Part 1, on view now through Nov. 9, 2013, marries a painting by Cuban collective Los Carpinteros with an animated video by contemporary Seattle-based artist Paul Rucker, in an effort to “explore the power dynamics and political implications of oppression,” according to Morales.
“The exhibition title takes a cue from Alfredo Jaar’s seminal 1987 public art video intervention at Times Square in New York City, A Logo for America, a three-part video animation that plays off the notions of ‘America’ and its relationship to citizenship, homeland and borders,” says Morales.
On the east wall of the gallery hangs Dominar Bestias/How to Dominate Beasts, the watercolor painting by Los Carpinteros, whose name “derives from the historical term for skilled slave laborers,” according to Morales. Within the painting we are shown a number of household objects, such as dressers and chairs, shackled to a fence that corrals them, as though they were animals in a paddock. It is unclear whether they are being chained to the fence so that they do not escape, or whether it is the fence that is tied down to these material goods. One begins to wonder who or what is being dominated, and, beyond that, who or what the beasts are.
Across the darkened gallery is Paul Rucker’s video piece Proliferation, projected on the wall opposite the painting. Rucker was inspired to create the piece while at a “prison issues” residency at the Blue Mountain Center in the Adirondacks, when he discovered a series of maps created by researcher Rose Heyer that showed the growth of the United States prison system over time. Rucker, a musician as well as visual artist, created the durational piece from the maps and also composed the original score.
“A word that can refer to healing of a wound through rapid growth of new cells, Proliferation explores the evolution of prisons in the United States through an animated series of colored dots indicating location and number of prisons from 1778-2005,” says Morales. “The incarcerated are a relatively invisible aspect of American society… [but] the United States leads the world in the number of people behind bars.”
To Rucker’s score, each new prison appears on the projection as a dot of color, starting first as green specks and escalating in intensity into brilliant red and orange flashes. While viewing “Proliferation,” one is struck by how quickly the outline of the United States is formed, beginning first with New England, but quickly springing across the map to the West Coast. The colored dots, illuminated against a black background, echo other, similar maps, such as those illustrating light pollution from major cities, or urban sprawl.
As the piece goes on, the green dots begin to merge, turning yellow, and the music takes on a more ominous tone. The dots appear in faster succession, sprawling across the map, until there is no one section that is free of color. They evolve from isolated flashes of yellow into orange and then red masses, joining together with sharp, jolting regularity, like explosions. One feels like a cat, mesmerized, watching a laser dart around a wall. But with this feeling of not being able to look away, to stop chasing the flashes of light, the music suggest something darker, a sinking feeling in the pit of one’s stomach. This is not a game. This is serious.
The two pieces, poised opposite each other in the Americas Gallery on the second floor of the museum, both face off against one another and speak to each other. Their conversation occurs in the space between, where the viewer is invited to sit, to pace and to contemplate.
–Juno Schaser , Public Relations Intern
Part 1 of This Is Not America will close on Nov. 9, 2013, with Part 2 on view Nov. 16 2013 – March 15, 2014, and Part 3, co-curated with ASU MFA students, up from March 22 – June 6, 2014.
Artists include Facundo Arganaraz, Sandow Birk, Los Carpinteros, Juan Capristan, Enrique Chagoya, Binh Danh, Kota Ezawa, Eamon Ore-Giron, George Grosz, Ana Teresa Fernandez, Jon Haddock, Alfredo Jaar, Michael Lucero, Carrie Marill, Sanaz Mazinani, Ranu Mukherjee, Georgia O’Keeffe, Gina Osterloh, Raymond Pettibon, Michele Pred, Ken Price, Jerome Reyes, Paul Rucker, Rene Francisco Rodriguez, Fernando Rodriguez, Lorna Simpson and Adriana Varejão.
Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum’s Fall 2012 Season Opening Reception:
At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum’s unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum’s entrance.
In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.
The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening’s activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the “55: Music and Dance in Concrete” performance that would start at 7:30 p.m.
I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, “Don’t touch me!!” projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.
The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.
The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, “from 55 improvised and 55 composed pieces” started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.
The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers’ jerking movements gave the impression that they were almost trying to break out of their own skin.
What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone’s eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.
Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.
55: Music and Dance in Concrete premiered at Fort Worden as part of Centrum’s Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.
Miguel Palma’s Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.
The ASU Art Museum’s Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there’s something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his “Desert Initiative Remote Shuttle,” which will be on display at the opening as part of Palma’s show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.
A visitor to the ASU Art Museum sits on Brace, 2012, a new piece by Matthias Pliessnig. Photo by Tim Trumble.
A generous grant for Crafting a Continuum: Rethinking the Contemporary Craft Field has given the ASU Art Museum the means and tools to dig deeper and explore craft even further through research, travel and community outreach.Designed to fortify and advance the museum’s commitment to craft, Crafting a Continuum acknowledges the field as a noteworthy and integral part of the fine arts.
“The ultimate goal of the grant is to assess the current and extensive holdings in ceramics, fiber and woods,” curator of ceramics Peter Held said. “We want to move it forward by including younger, emerging artists working in new ways.”
The comprehensive Windgate Charitable Foundation grant, in the amount of $330,000, will be used to accomplish a two-year multifaceted project that focuses on both acquisition and artist residencies, invigorating the museum’s position in the field of craft. Along with community outreach, the museum has hired Elizabeth Kozlowski, a curatorial fellow focused on contemporary craft, and will also publish a catalogue to go along with the exhibition.
“With these residencies, for instance, the artists are playing an active role,” Peter Held said. “They’re working with our students, (and) they’re working with our community. I think that’s a really powerful aspect of the initiative.”
So far, the Windgate support has helped commission a piece from Matthias Pleissnig, a visiting artist who combines furniture-making and sculpture. As part of the initiative, Pleissnig led well- and enthusiastically attended workshops in the School of Art, and along with giving a public lecture at the museum about his work, Pleissnig delivered a piece for the museum collection (currently on display in the lobby).
Above: Matthias Pliessnig works with ASU students during his visit to campus. Photo by Elizabeth Kozlowski.
“With the trend of contemporary artists using traditional craft materials to make fine art, disciplines are a lot more fluid than they were. The need to define the two as separate seems to have dissipated,” Held said.
Artists today are more concerned with using the appropriate materials to execute ideas rather than drawing hard lines between art and craft, and in support of this, the ASU Art Museum has an extensive history in presenting and working with artists in the craft field.
“We’re one of the few fine art museums in the country that started collecting mid-20th-century studio craft. Now it’s becoming a more prevalent trend,” Held said.
The permanent collection of ceramics at The ASU Art Museum originated in 1955, and since then, the museum has consciously built a collection of contemporary studio ceramics at a time when craft based media was considered a lesser art form. The collection of works extends over six decades and contains over 3,500 objects.
In 1990, the museum co-sponsored the exhibition, Meeting Ground: Basketry Traditions and Sculptural Forms, which studied the relationship between traditional baskets and sculptural forms and also highlighted artists’ interests in hand processes and natural materials. More recently, the museum showcased Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection in 2006, which charted the blend of ancient and modern basket making and baskets as sculptural forms. The exhibition traveled to five venues nationally.
Given one of the best turned wood collections in the late 80s/early 90s, the Jacobson Collection, the ASU Art Museum displayed the pieces internationally, and with the influential traveling exhibition and media response, turning became more established as an art form.
“We have a venerable past in contemporary craft,” Senior Curator and Associate Director Heather Lineberry said. “One of the things that is pretty unusual is that we have always shown contemporary craft within the broader contemporary art context.”
The museum is currently evaluating the purpose and quality of its collections, giving the museum the opportunity to rethink the recent history, the present and the future of contemporary craft as well as encourage interactions and connections with rising voices within the field.
The initiative’s exhibition will debut in the fall of 2013 at the ASU Art Museum and will then travel nationally to about five venues.
“As an institution, we are guided by the fact that we focus on contemporary art and that we are a university museum, and as a university art museum, we should be focusing on transdisciplinary issues,” Lineberry said. “We should be focusing on education… We should be experimenting. We should be exploring new ideas, new art forms, new approaches in the museum, and we should be as much about the process as the final product. With the Rethinking Contemporary Craft initiative, we have a real opportunity to reassess the field.”
What it means to be human is changing. Emerging technologies are transforming our minds, our relationships, everything we own and the very landscapes in which we live. What kinds of humans will we become? What kinds of humans should we become?
These are just some of the big questions that artists and scientists explored March 1–3, 2012, when Arizona State University hosted Emerge – an unparalleled campus-wide event uniting artists, engineers, bio scientists, social scientists, story–tellers and designers to build, draw, write and rethink the future of the human species and the environments that we share.
On April 10, the exhibition Emerge: Redesigning the Future opened at the ASU Art Museum. This unusual show gives audiences a chance to sample some of the futures imagined during the three-day Emerge event, and includes hands-on activities that make the viewer part of the project.
On Tuesday, April 17, we’ll celebrate the opening of Emerge from 5 to 8 p.m., at a reception sponsored by ASU’s Global Institute of Sustainability. The exhibition will be up through Aug. 25, and is free and open to the public.
Many thanks to the partners who worked so thoughtfully and so hard to bring this exhibition together, and to the sponsors and partners who made Emerge possible!
Emerge exhibition team
Daragh Byrne, School of Arts, Media + Engineering in the Herberger Institute
Sarah Davies, Center for Nanotechnology in Society
Aisling Kelliher, School of Arts, Media + Engineering and The Design School in the Herberger Institute
Cynthia Selin, School of Sustainability, Consortium for Science, Policy and Outcomes
Lead developers of Emerge
Thanassis Rikakis, director of the ASU School of Arts, Media + Engineering and the Digital Culture Initiative in the Herberger Institute for Design and the Arts
Joel Garreau, Lincoln Professor of Law, Culture and Values at the Sandra Day O’Connor College of Law
Cynthia Selin, assistant professor, Consortium for Science, Policy and Outcomes and the School of Sustainability
Sponsors and partners
- Herberger Institute for Design and the Arts
- The Center for Nanotechnology in Society
- ASU Office of the President
- The Prevail Project of the Sandra Day O’Connor College of Law
- School of Sustainability
- Ira A. Fulton Schools of Engineering
- ASU LightWorks
- ASU Art Museum
Image above: A moment during Immerge, a performance on Nelson Fine Arts Plaza during the Emerge conference. Photo by Tim Trumble.
The ASU Art Museum’s exhibition Performing for the Camera deserves an encore. The exhibition is a collection of large, glossy, striking photographs. This is no mere point-click-shoot scenario; these pictures are scenes, not snapshots of a moment in time. Every crisply displayed image is performance art at its finest. The splendor and exquisite precision of the images illustrates the same dedication and patience as a wildlife photographer entrenched in the jungle waiting for the perfect shot. However unlike the photographer who must ultimately rely on luck, the images in Performing for the Camera are the result of the artists’ talent and ingenuity. These artists have moved beyond the concept of the photographer and his camera as merely operator and tool. By expertly staging the captured image, these artists have used photography as a medium to construct alternate, imaginary worlds inhabited by the beautiful and bizarre.
Moving from one photograph to the next, the viewer will experience anything but the ordinary. Spencer Tunick’s work features hundreds of naked men and women, uniform in their nudity, distributed across the landscape. Individually and unclothed they seem strangely small, lost, and nondescript, but as a collective they form a striking human monument.
Charlie White’s work, titled Sherrie’s Living Room, toys with our sense of intimacy. White’s photograph mimics a scene common in every home. In a (Sherrie’s) living room a nude couple reclines on the couch, bathed in the warm glow of dim lamplight. He lies on his side brooding and dejected as she comforts him. She is an attractive brunette, he is a humanoid puppet. It is as creepy as it sounds. Looking at White’s work, the viewer can’t help but feel unease and revulsion. The familiarity of this interaction between couples, combined with our perception of the home as a place of privacy and comfort, allows White to create a distortion disturbing to some intrinsic value within us. One can also not help but feel an odd empathy for the puppet. Despite our discomfort, the puppet is just human enough to symbolize the insecurity and alienation equally as intrinsic to us.
Duane Michals’ Grandpa Goes to Heaven is one such piece. This series of slightly unfocused black and white photographs depicts a boy waiting patiently by his grandfather’s bedside. From one photograph to the next, the child’s grandfather, displaying what is unmistakably a pair of wings, rises from bed and waves good-bye to his grandson before departing out the window. In the final shot, the child leans out the window and waves after his grandfather.
The presentation makes the images feel like a half remembered dream one can only hope is true. The old man got to wish his grandson farewell before going to heaven, and the boy, not yet comprehending death, only knows his grandfather is now gone but happy. The child’s innocent acceptance of his grandfather’s quite unusual behavior invokes an odd mixture of hope and melancholia.
This is a story we all wish were true. Yet with age and experience we cannot believe in such a miraculous occurrence like the child can. Do yourself a favor and see it. We might be tired, stressed, and jaded, but seeing Grandpa Goes to Heaven evokes memories of childhood innocence at which we can’t help but smile (even if just a little).
Duane Michals’ Grandpa Goes to Heaven. Courtesy of Stéphane Janssen
– Karen Enters, Intern