Posts tagged ‘video’

Coming soon to a Museum near you: Miguel Palma

Above: Miguel Palma (left) with space research trainee from the ASU School of Earth and Space Exploration. Photo courtesy of the Desert Initiative.

Artist Miguel Palma (Lisbon, Portugal) was commissioned by the ASU Art Museum’s Desert Initiative to develop a mobile project that explores our connection to the desert environment.

In collaboration with ASU’s School of Earth and Space Exploration (SESE) and other community partners, Palma has converted a former military truck into an exploration vehicle equipped with the technology to photograph and film natural desert environments. The vehicle will return to urban settings at night to project the recorded imagery on building facades and other sites.

The work engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.

Palma’s “Remote Desert Shuttle” will be live at the ASU Art Museum on our season opening weekend, Sept. 28-29. In the meantime, here’s a teaser to whet your appetite:

July 31, 2012 at 11:16 pm Leave a comment

We knew her back when: Lekha Hileman Waitoller

Last week, our friend and former colleague Lekha Hileman Waitoller began working at the Art Institute of Chicago as Exhibition Manager in the Department of Contemporary Art.

Her first big project: an upcoming exhibition of work by Steve McQueen, opening in October.

We’re impressed, but we’re not surprised.

Soon after arriving at ASU in the fall of 2008 to pursue an MA in art history in the School of Art, Lekha sought out opportunities at the ASU Art Museum and started as curatorial assistant. She worked closely with Senior Curator and Associate Director Heather Sealy Lineberry on a number of exhibition projects, large and small, from the collection and featuring international artist residencies and loans, exploring a range of disciplines and community programs and partnerships. In 2009, she curated the exhibition I Never Saw So Clearly, from the Museum’s permanent collection. The lively, smart exhibition focused on issues of identity and hybridity in contemporary art, informed by the research for her Master’s thesis on the work of Lorna Simpson and Steven Yazzie.

Then Lekha stepped in as interim curator in the fall of 2011. Her first big project was artist Jennifer Nelson’s Social Studies exhibition, Securing a free state: The Second Amendment Project.

Lekha handled the project’s challenging content and ambitious scope (both hallmarks of our Social Studies exhibitions) with her usual aplomb, demonstrating grace under pressure whether she was helping lead a tour of a sniper school in the desert or facilitating a series of intense, and intensely moving, workshops involving people whose lives have been radically altered by a violent encounter.

The Museum also benefited from Lekha’s curatorial vision and organizational abilities when we revamped the Americas Gallery, on the second floor, which showcases pieces from the permanent collection.

We look forward to seeing what Lekha does in Chicago — the Art Institute is lucky to have her!

June 6, 2012 at 10:57 pm Leave a comment

A Better Future: “Emerge” at the ASU Art Museum

From March 1-3, ASU hosted Emerge: Artists and Scientists Redesign the Future. This spectacular campus-wide event combined the disciplines of art and science to explore the impact of technological evolution on the potential futures we are creating. The advancement of humanity and the advancement of technology have become inextricably intertwined. Participants in Emerge investigated the effect of this symbiotic evolution, addressing the transformations in our lifestyles, the landscapes we inhabit, and even how we define ourselves as humans resulting from the increasing prevalence of technologies in our lives. For more information about the event, read about it from these people in some of the great blog posts I’ve linked below.

We Alone on Earth

http://wealoneonearth.blogspot.com/2012/03/emerge-impressions-day-3.html#.T42xEWHr7lw.email

Julian Does Stuff

http://julian.tumblr.com/post/18661289878/emerge-asu-2012-design-fiction-workshop-a-set-on

An interview with keynote speaker Bruce Sterling as he explains the concept of design fiction

http://www.slate.com/blogs/future_tense/2012/03/02/bruce_sterling_on_design_fictions_.html?tid=sm_tw_button_toolbar

Now if after reading all this you’re hooked, but you’re sad that you missed it, don’t be too sad. For anybody interested in experiencing this event, some of its fascinating projects are now housed in the Top Gallery of the ASU Art Museum.

I’ve experienced a significant number of the exhibitions featured at the museum, but nothing ever like this before.

Simultaneously eerie and poignant, the interactive exhibition is a beautiful, visually striking hybrid between a science center and an art gallery. The gallery is washed a sterile white onto which florescence glows. Texts in an assortment of bold, vivid colors are stamped throughout the exhibition space, glaringly obvious, almost lurid against the florescent white. The ambience is fascinating and somewhat unearthly. Entering the gallery feels like stepping into a world far removed from the one you inhabit daily. It sounds a little intimidating, but any first impressions of unease are quickly removed by all the gadgets to play with. These cool inventions and imaginings all present answers to the question of what our future might hold.

At one end of the gallery, a collection of View-Masters sits on display (I’ve included a picture below in case you’re not familiar with the View-Master). Clicking through the slides presents different views of the future as it pertains to Arizona. Having grown up in the 1990s I personally love this part of the exhibition. I remember these toys from my childhood, and really appreciate the irony of using them to ‘view’ the future.

An adjoining room showcases the vibrant headdresses created for Immerge a ‘unique interactive performance’ that occurred at the end of the event on the plaza behind the Museum.  Scenes from the performance with the actors in full costume are projected onto the gallery wall. Truly elaborate works of art, these headdresses are a sophisticated combination of feathers, wire and lights. Each seems so fragile a single breath could destroy it. Quirky descriptions of the characters represented by each headdress accompany the display, conveying impish, childlike personalities despite the artistic and technical intricacy.

While the exhibition is undeniably visually and technically just cool, it’s the interactive features that make it touching and memorable. The exhibition recognizes the importance of everyone’s input. We all have a stake in the future. It involves us beyond allowing us to just see ‘the experts’ (Emerge participants) ideas of the future by encouraging personal contributions. A table containing labeled glass tubes and marbles lets visitors vote on the topic they consider most important for a sustainable future. Clay for molding future inventions is supplied at a table in the center of the gallery. Alcoves along one wall house the imaginings of previous visitors. Colorful Post-its provided at one end of the gallery invite visitors to share their thoughts. The response is overwhelming; hundreds of these colorful paper squares adorn the walls around the gallery’s entrance.

While upon first glance the exhibition may seem cold and intimidating, closer inspection reveals how truly emotive and human it actually is. While some parts of the exhibition are undeniably rather dystopic (synthetic panda jerky anyone?) the contributions left behind speak of hope.

Some are funny:

Some are heartfelt:

Some are calls to action:

No matter their content, each and every one represents something someone was prompted to think and then cared enough to share. The quality and sheer volume of responses illustrates a prevailing mentality of ‘our future’ rather than ‘my future.’ Whatever future may unfold, this exhibition makes it evident that it will be one we create, share and face together.

Karen Enters, Intern

May 9, 2012 at 9:21 pm Leave a comment

MoMA acquires Brent Green film

The Museum of Modern Art in New York has just added Brent Green’s film Gravity Was Everywhere Back Then to its permanent collection.

Congratulations, Brent!

The ASU Art Museum is proud to have premiered the complete Gravity installation in 2010, with the film, videos and four houses in our top gallery. (Installation shots are here.).

Here’s a link to Brent’s blog — and watch for a new acquisition to the ASU Art Museum’s collection of a sculpture by Brent.

Heather Sealy Lineberry, Senior Curator and Associate Director

Above: Installation shot of Brent Green’s Gravity Was Everywhere Back Then at the ASU Art Museum, Fall, 2010. Photograph by Craig Smith.

February 21, 2012 at 7:05 pm 3 comments

Looking for miracles at the ASU Art Museum

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.

January 4, 2012 at 7:28 pm 2 comments

Dispatches from Peter Held, curator abroad, cont’d…

I took the train today to Humlebaek, about 25 miles north of Copenhagen, to visit the Louisiana Museum. Was excited as they recently opened an Ai Wei Wei exhibition. Here are two photos of the primary installations with many video projects and interviews with the artist.  Also a great show of Klee and the CoBrA group.  And I saw the sun for the first time in three days!

December 7, 2011 at 6:44 pm

A funny thing happened on the way to Diablo…

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

November 22, 2011 at 6:58 pm

“Securing a free state: The Second Amendment Project” – Calendar of public events

Check this calendar for an updated list of public events and panels connected to the Securing a free state: The Second Amendment Project – Jennifer Nelson, Social Studies 7, including an artist reception at the Museum on Nov. 4. We hope you can join us!

 CALENDAR OF PUBLIC EVENTS

Open gallery sessions with the artist

Saturday, October 8 – noon-1:30 p.m.

Saturday, October 15 – noon-1:30 p.m.
Participants are encouraged to attend for the full 90 minutes.

Public panel on the topic of how people find security,
individually and collectively.

Tuesday, November 1 – noon-1:30 p.m.

Panelists include:

Kim Hedrick, Trauma Survivor

Nick Katkevich, Co-Director of the Phoenix
Nonviolence Truthforce

John Kleinheinz , Captain/Commander of the Maricopa
County Sheriff’s Office Special Weapons and Tactics
(SWAT) Division

Scout McNamara, Counselor specializing in trauma
resolution, mood disorders, addiction and relationships

Jim Neff, Firearm Instructor, Generations Firearm
Training

Moylan Ryan, Somatic Coach

Field trips

We recommend that you attend more than one field trip to better understand the
full scope of the project.

To sign up, call Lekha Hileman Waitoller at 480-965-0497 or email at Lekha.Waitoller@asu.edu

Thursday, October 13 – 6:30 p.m.

Artificial Limb Specialists, 2916 N. 3rd Street, Phoenix, AZ 85012

Sunday, October 23 – 11 a.m.

GPS Defense Sniper School

Saturday, October 29 – noon-2:00 p.m.

St. Luke’s Behavioral Health, 1800 E. Van Buren
Street, Phoenix, AZ 85006

Enter through the main entrance, signage will direct you to the
Behavioral Health Auditorium

Artist reception

Friday, November 4 – 5:00-7:00 p.m. Closing remarks by Jennifer Nelson at 5:45 p.m.

Gallery events

Friday, October 21 – 2:30-4:30 p.m.

Performance by visiting dance artist Tim O’Donnell

Thursday, November 3, noon-2:00 p.m.

Nick Katkevich of the Phoenix Nonviolence
Truthforce, will provide an introduction to Kingian

Nonviolence focusing on the fundamental strategies and
aspects of nonviolence based on the philosophy and movements led by Dr. Martin Luther King Jr.

For more information, updates and further opportunities to engage in the project,
please check the ASU Art Museum blog: asuartmuseum.wordpress.com or contact
Lekha Hileman Waitoller at 480-965-0497.

October 28, 2011 at 5:03 pm 1 comment

This terrible thing has happened, I will never be the same: “Securing a free state” — Jennifer Nelson

When this project was percolating last year, thinking choreographically I
initially approached it with a dumb pun about the right to bear arms. I was
thinking about the way the mind fills the fire-“arm” with its
intention, and the way this intention penetrates social space with its
imperative to stop an attack (I’m taking a good-faith approach that those who
are armed for self-defense do not wish to do harm beyond stopping an attacker).
On the other side, I was thinking about the body’s integrity being violated by
violence, and the psychic and social consequences of that. I imagined a person
missing an arm to violence. I was wondering about phantom sensations in
the missing limb, and about the experiences of someone trying to heal by making
the body whole again through the use of a prosthetic limb. Can mind inhabit the
inanimate? What relationship can a person claim to the now public place where
his or her limb should have been?

But as I thought further, it became clear that the project would go deeper. I
would shift away from “the right of the people to keep and bear arms”
to the heart of the Amendment: “the security of a free state.” What
is a securely free state? What does that mean intimately? How do we carry this
in our bodies? We live with mortal vulnerability, and with the possibility,
however statistically slight, of facing violent conflict. We look for ways to
live with this terror, particularly if we have already been wounded and our
trust has already been broken. The evolving project sets out on this deeper
quest. So when we approached Michael Pack, owner of Artificial Limb
Specialists, about a field trip to his site, I carried both my first intention
and the evolving question.

Michael’s work, as a designer of custom prosthetic devices, is that of a
life-changer. He works with clients, most of whom have suffered a traumatic
injury from war or accident (rather than the #1 cause for limb loss: diabetes)
for months or even years to get the right prosthetic fit. It truly makes the
difference of whether a person can live a full and free life or not. Danny
Lujan, a client of many years who was present on our Thursday night field trip,
said that his psychological recovery from the loss of his lower leg only began
when the limb fit perfectly and he didn’t need to think about it anymore. We
spent the evening learning what it takes to design prosthesis to fit perfectly —
to become an extension of the body — and speaking with Danny about his emotional
relationship with both his lost leg and his prosthetic one. We also got a tour
of the workshop — a sculptor’s delight — for casting and shaping these amazing
devices. Michael’s clients compete in triathlons, scuba dive, rock climb, and
play with grandchildren. Danny was able to move forward literally and figuratively
after his accident. He got a degree, found his wife, and has a rewarding job.
But he says the first several years were really hard. His sense of personal
security changed. He feels more vulnerable. He still feels the lost leg,
sometimes it still hurts. Michael explains that a patient needs to bond with
their prosthetic leg to move forward, and for some people, life events make it
so difficult to take a forward-looking view of  loss: This terrible thing
has happened, I will never the be same.  How will this cause me to grow?

We’ll be examining that question in more detail on the field trip on Saturday,
October 29th to St. Luke’s Behavioral Health. Check it out — there are
participatory events for post-traumatic growth.

This Sunday at 11:00 a.m. we’ll eat pastries at a sniper training range while
discussing letting one’s guard down with sniper training instructor William
Graves. Please contact Lekha Hileman Waitoller if you would like to join us
(480-965-0497; lwaitoll@mainex1.asu.edu)

Jennifer Nelson, Social Studies artist

This slideshow requires JavaScript.

All images by Sean Deckert.

October 20, 2011 at 10:04 pm 1 comment

Experiments with robots, machines and conditions: Juan Downey’s Invisible Architect

Last week at work, I had to find and compile images (and the necessary credit lines, of course) for an online slideshow presenting some of the works of Juan Downey. The cool part? Once I was done, I got to go look at the works in person.

In case it wasn’t already obvious, I work at the ASU Art Museum, which is currently exhibiting Juan Downey: The Invisible Architect, the first U.S. museum survey of Chilean artist Juan Downey’s work. There are three whole galleries worth of his work here, one on each floor, but unfortunately I only had time to properly appreciate two.

Now, I might not be someone exactly qualified to comment on art (I’m a marketing and economics major, very boring), but Downey’s work is awesome. The gallery on the first floor contained some of Downey’s more technical pieces, sketches and drafts of his experiments in performance art examining the interactions between man and machine. I was amazed by the depth of the contrast.  Downey documents his inquiries into invisible energies existing in human-machine communication in the crisp, precise detail of an architect’s draft, but done with such simple mediums, color pencil and graphite.

Downey’s projects are complex investigations and experiments with robots, machines, and conditions. Yet, such seemingly intricate, technical undertakings are juxtaposed against the simple, even humble, but loving detail he used to document them. His sketches, as I mentioned, are done on paper with pencil, and while devoid of much color and punctuated with Downey’s scribbles and annotations, still retain a perfect feel and respect for space and position, nothing random, everything with a purpose.

Three pieces by Juan Downey: "Inside the Robot," "Follows People and..." and "...and Breathes Stuffy Air on Them," all 1970, all colored pencil and graphite on paper, all courtesy of Marilys B. Downey.

While interactions between man and machine and invisible energies seem as though they could easily be boring, high-brow and scientific, they’re not. Downey’s innovative sense of whimsy avoids anything detached and pretentious. My personal favorite is Downey’s transcription of Pollution Robot, decomposed into three pieces: Inside the Robot, Follows People And….., And Breathes Stuffy Air On Them.

If the names of the works are amusing, then Downey’s performance of Pollution Robot must have been even more so. In Pollution Robot, Downey hid himself within a robot box, followed people, and breathed stuffy air on them. I loved it, the lack of pretention in the names and the act, that Downey himself was in the robot following people, and the fact that in the robot, Downey’s main purpose was, rather than anything else one could imagine, to follow people and breathe stuffy air on them. It makes the complexity of the themes explored in Downey’s performance accessible and entertaining.

Unfortunately, I am now out of time and space, and I didn’t even get to mention the exhibition in the second gallery featuring some of Downey’s more traditional (but still far from it) art. But hopefully, that’s another story for another day, or another blog post for another day at work.

Karen Enters, PR and Marketing Intern

October 13, 2011 at 9:00 pm

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