I have more photos of all the works in the show and various other, lovely points of interaction, so if you'd like me to give them to you let me know.
!!!!!!!!!!!!!!!!!!
12 years ago
Monday, April 27, 2009
SERIOUS BUSINESS After the Launch
Hey, everyone, here are some photos from the show Saturday night. We had a great out turn after not too terrible mayhem during hanging. The show looked fantastic. Here are some highlights from the night.
I have more photos of all the works in the show and various other, lovely points of interaction, so if you'd like me to give them to you let me know.
I have more photos of all the works in the show and various other, lovely points of interaction, so if you'd like me to give them to you let me know.
Friday, April 24, 2009
Sunday, April 19, 2009
collage vs. montage
These two posts are quotes I found in a recent acquisition of the art and architecture library: Collage: Assembling Contemporary Art.
I was greatly inspired by both - the first one seems to justify some of my impulses, and the second relates collage to general issues of contemporary practice.....
DL: Suppose I suggest that collage foreshadows everything that is happening now, that now everything is a kind of collage, that it is a given, almost the only method available?
JS: I think that this has been the case for a while, but would use the word ‘montage’ rather than collage. Montage has become mainstream. It was radical in Eisenstein’s day, but now it is facilitated in the editing of color supplements, it is the cut and paste method that everyone uses, the standard way of working. I see collage as acting in opposition to that. It is an exposure of and a resistance to the seamlessness of montage. I see collage as the opposite – a desire to expose and to hold on to the seams whereas, in montage, the seam is hidden and universal.
Collage offers a perspective on the essential condition of the image in our culture: the existence of an image perpetually in relationship to another. This ‘other’ image is always apparent, and the image always strays between its own position and that of its ‘other.’ This awareness is kept to the borders of consciousness. We are never brought into confrontation with the edge between them
-Collage: Assembling Contemporary Art
I was greatly inspired by both - the first one seems to justify some of my impulses, and the second relates collage to general issues of contemporary practice.....
DL: Suppose I suggest that collage foreshadows everything that is happening now, that now everything is a kind of collage, that it is a given, almost the only method available?
JS: I think that this has been the case for a while, but would use the word ‘montage’ rather than collage. Montage has become mainstream. It was radical in Eisenstein’s day, but now it is facilitated in the editing of color supplements, it is the cut and paste method that everyone uses, the standard way of working. I see collage as acting in opposition to that. It is an exposure of and a resistance to the seamlessness of montage. I see collage as the opposite – a desire to expose and to hold on to the seams whereas, in montage, the seam is hidden and universal.
Collage offers a perspective on the essential condition of the image in our culture: the existence of an image perpetually in relationship to another. This ‘other’ image is always apparent, and the image always strays between its own position and that of its ‘other.’ This awareness is kept to the borders of consciousness. We are never brought into confrontation with the edge between them
-Collage: Assembling Contemporary Art
Collage related thoughts
David Lillington: Collage has sometimes been criticized for being nostalgic.
John Stezaker: ‘Nostalgic’ has been the standard put-down of collage over the past 30 years. For ‘nostalgic’ read: reactionary, backward-looking. But for me this lack of place for collage is what commends it: it is capable of subverting the cultural context it finds itself in. Collage, I think, is indeed a yearning for a lost world and reflects a universal sense of loss. (Writing about Jack Goldstein David Salle uses the phrase “nostalgia for the present” to describe that sense of exile from the ‘real’.) The best defense against the ‘nostalgia’ accusation is in Milan Kundera’s novel Ignorance. He points out that nostalgia is not a comfortable form of reverie but the opposite: it is a way of living with loss. It is not about an imaginary retrieval of the past but about the impossibility of return; a condition of exile.
-Collage: Assembling Contemporary Art
John Stezaker: ‘Nostalgic’ has been the standard put-down of collage over the past 30 years. For ‘nostalgic’ read: reactionary, backward-looking. But for me this lack of place for collage is what commends it: it is capable of subverting the cultural context it finds itself in. Collage, I think, is indeed a yearning for a lost world and reflects a universal sense of loss. (Writing about Jack Goldstein David Salle uses the phrase “nostalgia for the present” to describe that sense of exile from the ‘real’.) The best defense against the ‘nostalgia’ accusation is in Milan Kundera’s novel Ignorance. He points out that nostalgia is not a comfortable form of reverie but the opposite: it is a way of living with loss. It is not about an imaginary retrieval of the past but about the impossibility of return; a condition of exile.
-Collage: Assembling Contemporary Art
Friday, April 10, 2009
Hanging Work
To follow up on Jenie's pics of the space for Serious Business, the junior show (Saturday, 4/25, from 6 PM-9 PM, shameless plug, I know) here is a link to a good resource with some tips and general rules about hanging work. The site covers traditional gallery styles as well as salon style hanging with the math to boot.
http://artemerging.com/show/hang.htm
Tuesday, April 7, 2009
The Very Serious Environment
The space
Angela approaching the doorway into an architectural cave
The stairwell
I should have taken pictures of the really big windows in the stairwell, but you can kind of see the bottoms of them at least.
Angela approaching the doorway into an architectural cave
The stairwell
I should have taken pictures of the really big windows in the stairwell, but you can kind of see the bottoms of them at least.
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