Posts tagged ‘gallery’
This Is (Part of) America
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.
Alfredo Jaar, A Logo for America, 1986
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.
Paul Rucker, Proliferation, 2009
“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.
Let there be light — and dark: “Turn off the Sun” at the ASU Art Museum
Each piece in the exhibition Turn off the Sun, on view at the ASU Art Museum through Sept. 7, packs tremendous heat, power and impact. Drawn from La Colección Jumex in Mexico City, an incredible private contemporary art collection of about 2,600 works, Turn off the Sun displays two dozen of these searingly honest and beautiful pieces. This is only the second time that any of the Jumex collection has been shown in the United States.
The exhibition title did not come about from a concentrated brainstorm though, but rather from joking about the weather. During Jumex director Patrick Charpenel and curator Michel Blancsubé’s site visit to the ASU Art Museum in the summer of 2012, the two started an ongoing joke about how someone needs to “turn off the sun.” When curator Julio César Morales joined the staff in the fall and heard it, he pointed out how that’s not necessarily a joke—that’s a great name.
“When I heard this phrase, I thought it was a brilliant title, and the more it was discussed by myself and Heather Sealy Lineberry, the more we thought the title really connected with artworks in the exhibition and addressed ideas of site, adaptability and physical displacement,” Morales said.
ASU Art Museum senior curator and associate director Heather Sealy Lineberry said the museum staff became interested in the social and political implications of brining the contemporary art collection from Mexico to Arizona and how the content of the work would shift just by the very nature of having it here.
The artworks address several types of issues between Mexico and the United States, among them borders, landscape, lines, labor, politics, economics, faith and awareness.
One example is “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”) by Francis Alÿs, a conceptual performance artist. In the multimedia installation, the artist has a group of people move a mountain with shovels to create a line, like a curious border. Another is “Security Fence” by Liza Lou, which explores dark psychological spaces of violence and confinement. Santiago Sierra’s artwork “3000 holes of 180 x 50 x 50 cm each” is a triptych of three photographs and a performance piece that he created while in southern Spain, looking across to North Africa where many immigrants come into Spain. On video Sierra highlights matters of struggle and immigration by showing the 3,000 shoveled holes, mostly dug by Senegalese and Moroccan day workers over the course of a month with a Spanish foreman overseeing the labor.
“These three pieces pulled at our imagination and were tremendous anchors for what we wanted to do with the exhibition,” Lineberry said.
In an interview with San Francisco Arts Quarterly, Blancsubé also explained, “I generally don’t choose a theme and then look for artworks to sustain or feed it… I am seduced by artworks and imagine funny games between them. The theme or the discourse comes after or during the construction, and in a way it is suggested by the artworks themselves.”
Along with the choosing of the exhibition title, another unexpected aspect of Turn off the Sun is that there are no labels next to the pieces. Instead, there is printed material at the entrance of every gallery space that includes technical information, biographies and further text about the artistic process of all the artworks. This allows people who want to make their own relationships with the work to have that possibility. With each exhibition, the museum experiments with how to provide information for the visitor, and different kinds of exhibitions warrant different information systems.
Blancsubé said the information related to the artworks is accessible for curious visitors, “but not having plaques plugged on the wall near the artworks allows visitors to have a first approach of the artworks on their own without receiving from the beginning glasses that oriented their viewing.”
“We thought the design and artworks look so clean and beautifully installed that labels would interrupt the artwork itself,” Morales said. “I was more interested in the audience having a visceral experience of the work and engaging with it without any other materials to distract from that experience.”
Though some visitors are more comfortable with text panels, many are pleasantly surprised and enjoy the practice of making their own connections with the works.
Lineberry said she sees people relating to the artworks and broadening their thoughts about the border: “I think a lot of people are coming away with a pretty amazing experience of the works individually and the process of piecing them together as a narrative in their minds.”
–Mary Grace Richardson
Images, from top: “Overpass,” by Jeff Wall; “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”), by Francis Alÿs; “Security Fence,” by Liza Lou, and “3000 holes of 180 x 50 x 50 cm each,” by Santiago Sierra. All photos by Craig Smith.
Artist-in-Residence Christine Lee encourages artistic and sustainable consciousness
Visiting artist Christine Lee stands next to one of her pieces at the gallery at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.
Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee’s artwork a process-driven venture and a thorough material investigation.
Lee’s work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum’s Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.
The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.
“I think they were interested that I was working with a range of composite material and creating functional and sculptural work,” Lee said. “I feel like they both can happen in the same studio space.”
Lee’s work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: “It’s not so much about the end result of what you make but how you take that material and transform it. It’s the process and where it goes.”
In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. “People realize it’s not so much about categorizing everything,” she said. “It’s more about seeing what can happen when you start weaving things together.”
Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn’t her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.
A closer look at Lee’s work. Photo by Elizabeth Kozlowski.
With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, “It seems these days there’s more exciting work out there that straddle those areas.”
Lee finds potential in material that people casually throw out, a trait she attributes to her family’s concern about not wasting and appreciating the value of things.“We would reuse things like aluminum foil and we wouldn’t throw it away unless we absolutely knew we couldn’t use it,” she said. “And that stayed with me. I’m always very conscious about what I use and if someone throws away a scrap, I’m like, ‘That’s perfectly usable.’”
As part of her residency Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee’s students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU’s Global Institute of Sustainability and School of Sustainability, highlighted work Lee’s students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.
What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. “Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen,” she said.
By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students’ work has evolved as they applied the lessons they learned in Lee’s clas: “ [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice. This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students.”
Lee at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.
Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee’s class. “[Her] class… helped me to understand what I can do on an individual level,” Romney said. “She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate.”
Romney added she feels privileged to have taken a class under Lee’s direction, and she hopes Lee makes Arizona a permanent home.
During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.
“I feel like there is so much to tap in here,” Lee said. “I just felt it was very serendipitous that I could be here working on this.”
—Mary Grace Richardson
To see more images of Christine Lee’s show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.
Penny for your thoughts: ASU Art Museum Spring 2013 Season Opening Reception
On Friday, Feb. 8 we celebrated the season opening for our spring shows: Cu29: Mining for You, a collaboration between Matthew Moore (Phoenix) and Clare Patey (London); Traces of Japanese Life: Selections from the Melikian Collection; and, at the Ceramics Research Center, Born of Fire: The Pottery of Margaret Tafoya and a companion show, Re: Generation: A Survey of Margaret Tafoya’s Descendants. We also said farewell to artist-in-residence Miguel Palma, from Portugal, whose exhibition Trajectory closed Feb. 9.
Thanks to everyone who made the shows possible — to the hard-working artists, to our donors, to our magnificent staff and advisory board, and to Target and Tempe’s own Cornish Pasty, for helping make it such a great party.
Coming up on March 22: The opening of Turn off the Sun: Selections from la Colección Jumex. Be there!
Photos by Matthew Corbisiero
February 14, 2013 at 11:06 pm dsussmansusser Leave a comment
Passion in motion: Elizabeth Johnson and Socially Engaged Practice at the ASU Art Museum
Above: Elizabeth Johnson, second from left, takes part in the “Mother-Daughter Distance Dance” at the ASU Art Museum on April 2, 2011, as part of Gregory Sale’s exhibition It’s not just black and white.
Art is active. And for those like Elizabeth Johnson, it can move them in more ways than one.
As the Coordinator for Socially Engaged Practice at the museum, Johnson uses dance in order to organize collaborations, promote dialogue, and investigate pressing issues of our time.
Part of how she does this by harnessing people’s natural movement and putting shapes around questions that people then answer physically.
It’s not as abstract as you might think.
“We move to communicate all the time,” Johnson says. “We improvise every moment we have a conversation. We have an idea, we have a vision and we act on that vision or we don’t act on that vision. I just offer ways for people to show that. It’s a very fluid process.”
Before accepting this position, Johnson had never worked for a museum before. Having received her BFA in Dance from Connecticut College, Johnson traveled around the world organizing community engagement events and projects, as she says, in everyone’s community except her own.
Johnson explains working at the ASU Art Museum has made her rethink what a museum is — especially this museum: “I’ve never been a person who felt like I could concentrate with something still on the wall, as beautiful as it might be. Now that I’m in a museum, I’ve realized that a museum is a place that can hold ideas and is a place for the public, not just the people who know about art.”
Johnson’s work uses unique activities to connect with the community and have people think about artmaking and relationships formed through art. She bases her work on the idea that intangible social interactions can constitute the core of an artwork.
“That’s why I’m here,” she says.
When it comes to Socially Engaged Practice, Johnson explains she’s not just a planner but also a practitioner of the process: “There’s a lot of preparation that goes into collaborative events. I tend to set up things, but I also get involved with them. I facilitate and coordinate but I also practice and do. I get myself involved in a lot of interesting things.”
Through dance, Johnson creates meaningful cross-disciplinary collaborations and builds sustainable partnerships.
“What art can do is hold complexity,” she says. “And I kind of believe that when you bring your body into this, it brings out this human experience that we all have and gives us the capacity to have compassion in a way that’s different than if we just read a newspaper.”
Johnson is currently pursuing an MFA in Dance from ASU with her thesis focusing on exploring women and crime, a subject she became interested in after collaborating with Gregory Sale for It’s not just black and white in 2011.
“It really had me think what it’s like for me to be in Arizona and for me to be in a community that was my own.”
Above: Elizabeth Johnson, left, and Maricopa County Sheriff’s Office Deputy Chief MaryEllen Sheppard talk with girls who participated in the “Mother-Daughter Distance Dance.”
Johnson considers curriculum integration the biggest and most important aspect of her job — how to create a program that trains the artists of the 21st century that gives them skills to not only hones their craft but apply it in multiple contexts.
Johnson currently instructs Socially Engaged Practice: Engagement and Community, but she is also in the process of designing a new program and curricula for a certificate in Socially Engaged Practice at the undergraduate and graduate level.
“I have a real passion for this kind of work and what happens when young people see how big art can be and how many possibilities there are,” Johnson says. “The actual engagement of young people is really interesting to me. And I thrive on it, which is why I’m in a university.”
Next semester she and the director of the ASU Art Museum Gordon Knox will teach the new class Socially Engaged Art, which will examine the role of the artist in society from an anthropological perspective. Knox and Johnson also plan to use the course to push students to think about how to use art to moderate conversations and assess the complexities of a given social situation.
Johnson explains she has learned more about socially engaged practice uses dance in a way to share, not perform. “You combine your experience with somebody else’s and you see ‘Oh, it’s a more complicated picture,’” she says. “More interesting, more broad. [Working here] has definitely expanded what I know.”
Johnson’s intern Lindsay Henika, a senior studying Art Administration, has found her time at the museum to be an opportunity to learn about special event planning and media marketing. “It’s been so great to see how the museum works from the front row,” she says.
Johnson has her hand in many different projects, but her next upcoming event is At Home in the Desert: Youth Engagement and Place. The project partners the faculty and staff in ASU Herberger Institute for Design and the Arts with community-based organizations, The Boys & Girls Clubs of Metropolitan Phoenix, The Boys and Girls and Club of the East Valley, Girl Scouts—Arizona Cactus-Pine Council, and South Mountain High School.
Johnson has been working with the Girl Scouts by studying the desert and making dances about what they find. The public event will take place on Dec. 1 at the Diane and Bruce Halle Skyspace Garden on the Tempe campus at 4:30 p.m.
To learn more about what the Socially Engaged Practice community is up to, check out its blog and Facebook.
—Mary Richardson
Tales From A Distant, Not-So-Distant World
Click. A photo of desert scenery. Click. Another photo of the desert. Is that the same one? Click. Oh, another! Have I seen this one already? Click. And another? This one’s probably different. Click. Is it? It is. Click.
The slide projector spins the wheel of slides. Each of the 50 some-odd photos are shots of the desert, a part of Miguel Palma’s latest exhibition, “Trajectory.”
The photos are projected onto a white wall by an old-fashioned slide projector set on a timer. The photos roll around, each a different photo of Arizona’s desert scenery.
On the other side of the wall, there is an orange astronaut suit with one noticeable addition: several dozen small, black computer fans attached to the outside of the suit. Palma wore this suit as he traversed the desert, taking photos of the sights and scenery. The black computer fans were used to keep him cool during his expedition.
Click. Drip. Suddenly, I notice a new sound in the exhibit. Drip. Drip. Click. I realize that the sound of the projector isn’t alone. The sound is coming from a piece called “Bypass.”
“Bypass” is a device that Palma created. It takes water from a bucket, runs it up tubing into a chunk of wood, and then drips the water back down into the bucket. The natural and organic element of the wood and the water contrasts with the metal and silicone. There is a pump inside the bucket of water that looks like it was put there to bring water to the tree, but then the tubing and the metal cause the water to bypass the tree and return to the bucket. The manmade apparatus of tubing and silicone is depriving the tree of the water that it needs. The hunk of wood is supported in the air by metal and a hydraulic lift. The manmade system isn’t only depriving the tree of water, but it also supports the tree and holds it up. This brings up a question: is this what we’re doing to the desert? Are we trying our best to uphold it and support it, yet ultimately just depriving it of what it needs to survive? I arrive at more questions than I have answers. I have to move on.
Along the northern and eastern wall, there is an absolute cascade of poster paper full of art and ideas. Each poster contains ideas about the desert and the culture of the people who live in it. Palma uses collages, images, drawings and commentary of our culture to show these ideas. As I walk and read each poster, I see themes connect and I begin to understand the corollaries between them. For example, Palma wrote about swimming pool shapes, and the purpose of each shape. He wrote about L-shaped pools. “The L-shape fits easily into a corner or around a house projection.” I see that phrase written multiple times around swimming pools and even around old desert photos where, presumably, a pool would eventually go. There are stories about the destruction of the desert, and how manmade tools changed the scenery into what we call Phoenix.
I notice one piece called “War Games.” It shows photos of the desert, with yellow dots painted over it. Each dot has a line pointing at a construction truck, many with Xs drawn over them. Palma seems to be trying to show that people are at war with the desert; our weapons are the tools we used to put ourselves into the desert with, like tools of construction, transportation and infrastructure. I have never thought of it like that. Are we at war with the desert?
Palma was a visitor to our desert, but it took me a while to connect the dots. He wasn’t just an explorer of the desert; he is implying that he is like an astronaut exploring unknown worlds with his space suit and his rover vehicle. It all became clear to me. His art is a tale of his exploration of the unknown territory, the Arizona desert. He charted our destruction of the desert as well; we have been using our war tools to build our L-shaped pools and destroy the beauty of the desert around us. Palma researched our history and recorded lives, not just our lives, but also the life of the desert itself.
But what does that make me, a desert-dweller observing Palma’s observations? I suppose I’m the Martian who lives on this strange planet of rock and cacti. I suppose we should all take a better look at the world outside our cities. It’s beautiful.
“Miguel Palma: Trajectory” is on display at the ASU Art Museum until February 9, 2013
–Colton Robertson
ASU Art Museum Intern
Thanks to Sean Deckert and the Desert Initiative for use of their photographs.
Notes From Underground: Fall Season Opening
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.
Dispatch from Helsinki: “On the road with Georgia O’Keeffe”
Our intrepid registrar, Anne Sullivan, traveled to Helsinki last month to accompany the Museum’s Georgia O’Keeffe painting, Horse’s Skull on Blue, which has been on tour, back home to Arizona. Here’s a glimpse from her trip:
Everything is about design, no doubt. Even the attractive young man dressed in black, carrying a tool kit (actually cleaning supplies), who cleans the hotel room is a stunner.
Everything is considered, the hotel has strict eco standards — very little paper anywhere — the metro has slick floor guides, called “fish,” which are stainless steel shapes on the floor that guide someone using a cane; mass transport is on-time always. Bicycles are just another transport method and everywhere. Most everyone is under 30 and dressed very hip, lots of black.
The O’Keeffe exhibition, Georgia O’Keeffe: A Retrospective, is in a re-purposed gymnasium-style building. This allowed the exhibition to be installed in a shotgun-style layout — the entire exhibition is viewable from the front door. The curator played with the aesthetics of images rather than following a straight chronology, so even O’Keeffe folks were surprised to see some pieces hanging next to each other.
Overall very nice. Darah and Dayle both here and working on condition reports. The remaining couriers (10 of us) check in on Monday with conditioning first day then packing the second.
Our painting looks to have traveled well.
Helsinki Art Museum walk-through a bit of a disappointment, about 26,000 attendance. Separating the exhibition from the main museum was for environmental reasons, but it did affect general attendance since few were willing to travel to another site just for the O’Keeffe exhibit. Kunsthalle der Hypo-Kulturstiftung in Munich has 60,000 attendance and Fondazione Roma Museo 30,000.
Otherwise all going well, great weather so far.
Anne
Here’s a slideshow of Anne’s photographs from Helsinki:
Here’s a bit more information about the O’Keeffe exhibition in Helsinki, from the Tennis Palace Art Museum website:
Georgia O’Keeffe
Tennis Palace Art Museum, Helsinki
June 8 – September 9, 2012
The modernist Georgia O’Keeffe (1887-1986) was one of the most important American artists in the history of world art. She entered the New York art scene around 1916 – several decades before women were allowed to study art at American institutions. In 1946, O’Keeffe’s solo show opened at MoMA – the first ever exhibition at MoMA devoted solely to a female artist. New Mexico became O’Keeffe’s cradle of art and permanent safe-haven, which is also where she created her most famous series of works. They feature animal skulls and close-ups of flowers, painted on such impressively large canvases that the compositions become almost abstract to the viewer. Staying faithful to the themes of her paintings, the artist surrounded herself with a bitter-sweet personality, reaching cult-icon status in her own lifetime. O’Keeffe’s works are rarely seen in European exhibitions, which is why Helsinki’s Tennis Palace Art Museum is indulging their visitors by showing the first-ever Georgia O’Keeffe solo show in Finland, from June 8 through September 9. More than 60 paintings and drawings can be viewed in the exhibition, as well as a few sculptures, personal items and photographs that illuminate her career and life. The photographs were taken by O’Keeffe’s husband, the illustrious artist and promoter of modern art, Alfred Stieglitz (1864-1946).
Tennis Palace website:
http://www.helsingintaidemuseo.fi/en/
And a few words about Helsinki as the 2012 World Design Capital:
The World Design Capital is an initiative of ICSID, the International Council of Societies of Industrial Design, which every second year recognizes one global city for its accomplishments in utilizing design as a tool to improve social, cultural, and economic life. Icsid owns the rights to the World Design Capital trademark.
In 2012 Helsinki is the World Design Capital together with the neighbouring cities of Espoo, Vantaa, Kauniainen and Lahti. The previous World Design Capitals have been Turin in Italy (2008) and Seoul in South Korea (2010). Cape Town, South Africa was chosen as the World Design Capital for 2014.
World Design Capital Helsinki 2012 is more than just a series of events or projects. It is about improving cities, embedding design in life. The 2012 main theme is Open Helsinki – Embedding Design in Life. Openness equals transparency, curiosity, global responsibility, and innovation. This vision extends the concept of design from goods to services and systems. It means finding solutions to people’s needs, for example in the public health care sector. In short, it’s about improving cities.
Want a sneak peek of the Fall 2012 Season Opening?
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.
September 25, 2012 at 10:51 pm dsussmansusser Leave a comment
Time capsules and popsicles: Ant Farm Media Van at the Ceramics Research Center
What are three things you could not live without? What are you looking forward to for this year? What is your obsession?
These are some of the questions pondered at the ASU Art Museum last Saturday, the 25th of August. Each of the buildings in the Arcadia Residential Community was given a blank filing box and told to build a time capsule out of it to be opened at the end of the year.
We were given sticky letters, tape, markers, oil pastels, anything we wanted to beautify this box with the other residents of our building. Each team deliberated on how they would make their time capsule stand out from the rest. Some people went crazy with tape, and others even wrapped their box in gift wrap, like they were assembling a present for their future selves.
Across the street at the Ceramics Research Center, art museum staff (clad in their awesome AMUSEUM shirts) gave away popsicles from AZ Pops and handed out pages with questions to be answered and put in the time capsule.
Some questions were easy, like the ones I mentioned above. But some really made me ponder: What do you expect to accomplish this year? In what ways do you hope to grow this year?
These were remarkably deep questions for the atmosphere of popsicles and friends in the Ceramics Research Center. But it was as good a time as any to take stock. What DO I expect to accomplish this year at ASU?
After deliberating on those questions, we left the classroom and found the Ant Farm Media Van. Now, this was interesting: an interactive exhibit dedicated to collecting donations from cell phones, camera sticks and other electronic devices.
Now, it looked just like a hollowed-out van with the windows painted over, but inside sat a small green computer, called the HUQQUH (pronounced “hookah”), with cords to fit cell phones sticking out in every direction. The goal was to plug in your cell phone, iPod, or camera, and the HUQQUH would randomly select a file, then copy it to make it an electronic piece of the exhibit. For the most part, it was just taking photos and occasionally songs.
On the wall behind the media van hung a huge poster with little thumbnails of the pictures, songs and files taken during the media van’s time in San Francisco.
It was an entire wall of memories, just little digital files, each randomly taken from someone, making up a collection of images from people’s lives.
I decided that I had to give it a shot. I sat down inside the Media Van and plugged my iPhone into the HUQQUH. It sat for a small time before a picture from my phone appeared on the screen on top. A computer voice came from nowhere, thanking me for my donation and instructing me to unplug my iPhone from the HUQQUH. It spit out a receipt, thanking me for my donation with a little copy of the picture I donated.
The picture taken was a photo of my grandfather, with my little cousin — the last time I saw my grandfather before he passed away last fall.
And now that picture is stored inside the HUQQUH, to travel the country and become a part of the exhibit.
So on the day that we were decorating and putting items into our own time capsule, we were also contributing to a larger time capsule, set to continue its tour and continue to collect small bits of people’s lives. So while the HUQQUH wasn’t pressing us for personal questions, like what am I passionate about, it was still going through my personal phone and pulling out a very personal work about who I am and what I do. In that regard, this was a great day to take stock, and look at ourselves and ask, who are we and where do we want to be?
Oh, and my building’s time capsule? I think it turned out pretty cool.
—Colton Robertson, Community Assistant for Arcadia Residential Community
Photos by Colton Robertson.
ASU Art Museum 