Memphis Studio Visits – 2012

We recently traveled to Memphis, Tennessee to install an exhibition at the Clough-Hanson Gallery at Rhodes College. While we were there we had a chance to stop by the studios of Hamlett DobbinsLaurel Sucsy and Erin Harmon.

Hamlett Dobbins

Laurel Sucsy

“Gather”, Oil on Linen, 2008

Erin Harmon

“Enchanted Forest with Rainbow “, gouache on paper collage with flocking and pompoms,
2012

Mayen Alcantara – Studio Visit – November 2nd, 2011

Studio Visit: Mayen Alcantara
Date: Wednesday, November 2nd
Location: Bushwick, NY

Collapsing Agreements in Disputed Territories paper on panel 2011

Image: MidPhenomena: Northern Lights (Arctic Ocean), 2011, paper, 23 X 54 inches

“My work reflects the distortions that occur when a range of pressures force a formalization of long established traditions or informal agreements.  I am drawn to the exaggerations and compromises that are devised to fit non-compatible loose volumes into rigid paradigms that, though generally logical, often generate disorienting results.”
Studio Visit Synopsis:
Mayen AlcantaraInitially to many of the studio visitors, Mayen Alcantara’s new color paper collages read at first as purely abstract compositions. Upon closer inspection, in fact, they refer to landscapes, places in transition that have been transformed through human impact. Mayen is however not engaged in representing direct images of trees, clouds or buildings but is instead interested in nature as phenomena. Mayen refers to all of the collage work currently in her studio as drawings.In two of her drawings, the composition is divided using pieces of paper forming a grid with the upper images reflecting the lower panels. These pieces are translated from source imagery relating to acts of nature: the Aurora Borealis over Michigan and an image taken before the impact of hurricane Irene in Vermont.Two of the other works relate to the effects of human action on the landscape and borrow from satellite images of the compounds of Osama Bin Laden and Muammar Gaddafi. These drawings titled Collapsing Agreements In Disputed Territories differ from the other works in the angular shapes of cut paper used and the type of focal, centralized satellite derived composition used.The aim of the background surfaces, board and sketch book sized paper, which contain the collage images were a topic of contention in the discussion. While some participants found the panel and paper framed the collages  successful, others questioned the necessity of a bounding box in favor of the bare wall as the background surface.

Mayen’s past work has included large-scale installations incorporating wood and paper structures. Present in the studio were several older pieces, geometrically constructed paper relief pieces mounted to the wall. These pieces incorporate different types of paper and mark making absent from the more recent collage drawings and seem to more directly reference the language of topography and maps. Some studio visitors felt that the bas-relief sentiment and construction could be utilized to inform the new collage work.

The group discussed whether a reading of the work beyond an aesthetic, compositional understanding is readily available to the viewer without background information or title. In Mayen’s case, titles help to provide a window into the content of her source materials. What is the necessity of knowing about the source material or background information in order to understand or appreciate a work?

– Amanda Lechner

Links:

Julie Mehretu
Ink Blot
Cabinet: The Paper Sculpture Book and Show
Reflection

Matt Bollinger – Studio Visit – September 27th, 2011

Studio Visit: Matt Bollinger
Date: Tuesday, September 27th
Location: Zürcher Studio, Manhattan, NY
http://www.mattbollinger.com/

http://www.galeriezurcher.com/artists/bollinger/

Matt Bollinger

Image: Locker Room, 2011, collage, 60 x 48 in. (152,5 x 122 cm) - Image courtesy of Matt Bollinger & Zürcher Studio NY

Fence flashe and acrylic on cut and painted paper 58" x 72" 2011

The Party graphite on paper 30" x 22" 2011

Synopsis:

Our visit with Matt Bollinger took place at Zürcher Studio, the gallery where he mounted a solo exhibition about midnight Saturday. There were two sets of media represented in this show: medium to extra-large graphite drawings on paper and a series of works collaged from painted and torn paper.

The discussion started with a description of the largest piece in the show: a graphite drawing on a few huge pieces of paper with accompanying audio housed in an 8-track player and amp constructed out of brown chipboard with real 1970’s vintage head phones. Matt synopsized the audio recording, an interview in which his father describes in detail the events leading up to the near-fatal stabbing that took place the day before his 20th birthday decades ago. Growing up in the same neighborhood where the incident took place, this event became omni-present matter of family lore during Matt’s adolescence. In dark slate-velvet graphite Matt envisioned his father’s account of the event and rendered it as an un-peopled tableau. The details of the elder Bollinger’s descriptions make up the details of the drawing down to the make, model and interiors of the vehicles pictured. Listening to the audio while looking at the drawing seems to create a feedback loop of aural and visual information.

Matt’s collage paintings inhabit an emotional space somewhere between nostalgia and anxiety. Reference to the era of Matt’s adolescence is demarcated through the placement of objects and products specific to the early 1990’s. The group discussed whether these details nail the narrative to a specific generational experience or give surface detail to scenarios familiar to a viewers belonging to any cohort.

This body of work is a slight departure from Matt’s last large body of paintings, which were created through a process of narrative invention and removal constructed from original video source imagery that contains images of young adults. The current work is primarily a product of memory and invention that focuses on the violence and low-level menace inherent in many adolescent experiences. The group discussed the ways in which the making of the work relates to the context of the narrative. The anxious vibrations of color between the ripped, torn and cut paper add a visual weight to the narratives alluded to. The textured flatness and variation between areas of generalization and sensitive detail seem to invite a viewer experience that is like memory from another’s perspective.

– Amanda Lechner

Amanda Lechner – Studio Visit – October 29th, 2011

Studio Visit: Amanda Lechner
Date: Saturday, October 29th, 2011
Location: Brooklyn, NY
http://amandalechner.net/

In her most recent series of egg-tempera paintings and ink drawings, Amanda Lechner pulls from the history of optics and art to invent speculative narratives.

Brian Zegeer – Studio Visit – August 17th, 2011

– Studio Visit-
Brian Zegeer
Date: Wednesday, August 17th
Location: Queens

http://www.brianzegeer.com/

Studio Visit Synopsis:

Entering Brian Zegeer’s studio in Long Island City, Queens is like walking into a double-exposed photograph. His studio/domicile is actually a former speakeasy complete with a long wood bar, mirrors and bar stools. Brian projected a series of videos and stop motion animations filmed in the last couple of years on a screen adjacent to a cart made of scavenged materials stacked with a number of potted plants. A work in progress, the cart will serve as a “relaxation booth” installed along the waterfront at the Dumbo Arts Festival. Plants will canopy the viewer as they sit in the cart and are spritzed with water while viewing the lower Manhattan skyline. This mobile oasis of sorts is informed by a memoir The Book of Khalid by Ameen Rihani (1910), an immigrant’s tale that describes a conflicted vision of America. This literary work also informs and provides the text for the narrated voice-over to Brian’s newest work, Book of Khalid (To Man…), a video consisting of shots of Middle Eastern influenced architectural elements and construction sites in lower Manhattan near the world trade center tower site. The group discussed the sound component of the video, a low tone computerized voice-over that reads from Ameen Rihani’s text. Some participants found the computer voice incongruent with imagery of the piece, while others thought that it matched up with the surveillance-like qualities of the video and the rhythm of cuts and edits.

Field Notes from Little Syria, a series of photographs similar in imagery and content were projected along with this video. Brian pulled and combined imagery from these photographs to make digital print work. In some ways the digital print seems to mesh some of the collage techniques and aesthetics apparent in Brian’s animation work with the visual and structural interests of his new video piece.

Brian’s older video and animation pieces are surrealistic process oriented works that use an abstract language of refuse materials and distorted figuration. These pieces represent for Brian acts of discovery, and in many cases access ritualistic ways of image making. The group discussed ways in which ritual plays into different aspects of Brian’s work. In some pieces Brian seems to create imagery relating to ritual as in Shell Game; a figure (the artist) is wheeled around Queens inside a cart in an assemblage funeral procession, grasping various trash of seeming importance. In other pieces Brian constructs and works within a series of processes that are more like carrying out ritual as in his video/animation Poetics of Ditch Digging, a non-sequential narrative in which, among other phenomena, a sort of trash golem materializes before the viewers eyes.

In a society that has purged ritual importance, Brian’s work may reclaim ritual through materiality, performance and engagement with world history and current events.

– Amanda Lechner
Discussion Links:

Chris Marker (La jetée)

Addendum:

Cart as installed at the Dumbo Art Festival (image courtesy of Brian Zegeer)

 

Jacob Goble – Studio Visit – July 26th, 2011

Studio Visit: Jacob Goble
Date: Tuesday, July 26th

Location: Greenpoint, Brooklyn

Jacob Goble Studio Visit 7/26/11

Beach Vacation (image courtesy of Jacob Goble)

The Wheel 2011 (courtesy of Jacob Goble)

Jacob Goble

Since our last studio visit with Jacob Goble over a year ago, he has continued to investigate and hone three primary trajectories:

1) A developing series of abstract linear drawings that are non-repeating permutations of an arch shape.

2) Drawings made from observation in park, museum and domestic settings executed with aesthetically varied and developed mark making.

3) Paintings informed by the drawings, photographs and the book of arches.

While each of these elements of Jacob’s total body of work is produced largely independently from one-another, there is also significant crossover between the three directions. Most commonly the observational drawings act as preliminary work to the paintings. Jacob has also incorporated arches from the books of abstract into his paintings focusing on a particular shape and adding color and brushwork. In some paintings the shape/symbol is used as an overlay on an image of a landscape, in effect, encrypting the landscape language. In other paintings the arch shape is within a wholly abstract canvas, investigations on building an image from formal elements alone.

Jacob described the way he chooses his varied images and content as allowing himself to get attached to an idea or image without committing to putting it in all his work. The group discussed the interplay between nature and artifice in Jacob’s work. There seems to be balance between invention, reference, and removal in each of Jacob’s projects. In his directly observed drawings a level of illusionistic abstraction through mark making is apparent. In some paintings Jacob has combined observed landscape with invented elements and color schemes. In his paintings that are made using observed source material, surface details and foreground/background distinctions pull against the illusion of the image depicted. In the abstract arch books there too seems to be an embrace of a fluid evolution of form.

Perhaps on account of its scale, color palette and graphic presentation, one painting accrued more discussion than the others. The largest canvas in the studio depicted a nearly life size depiction of the Wheel of Fortune wheel positioned as if the viewer was a contestant who has just won a trip to New York. Jacob has edited the image he photographed from his television screen, leaving only the iconic wheel and light colored field below. The group discussed the relatively hard-edged and slick mark making used in this painting and compared it to the small preliminary painting that informed the larger final work. The idea of making a drawing of the wheel was discussed as well as a return to using inks to encourage the mark making exhibited in the observed pencil drawings.

When asked how he would formally exhibit his different modes of working, he answered that he would show the different works together, drawings alongside the paintings.

 

-Amanda Lechner

 

Discussion Links:
Keith Tyson
Charles Birchfield
Decorative Art – Met
Structures: The Arch

Beach Bum, 8x10in, Oil on Canvas, 2011

Page 186, 2011

www.jacobgoble.com

Vince Contarino – Studio Visit – June 28th, 2011

Studio Visit: Vince Contarino
Date: Tuesday June 28th
Location: Marie Walsh Sharpe Studios – DUMBO, Brooklyn

http://www.vincecontarino.com/

Vince Contarino

Split Decision, 2011, acrylic on canvas, 40" x 34"

Studio Visit Synopsis:

Vince Contarino started his studio visit by introducing a drawing project started about a year ago, before he moved into his current studio in the Marie Walsh Sharpe Space program. The project, a collection of small paintings, drawings, works on paper, exists in tandem with photographs and other ephemera produced and collected by Vince. A black shrine of sorts, this intuitively assembled drawing project gives off a film noir-like feeling of gesture. While paralleling and informing the body of work created upon moving into the Sharpe Studio it has thus far remained separate.

Vince is not the kind of abstractionist that takes recognizable images and objects and makes them unrecognizable, but he is not pulling from chaos either. He instead, through a discerning eye, identifies shapes, colors and marks that he then pulls into the work. Thinking of gestures as objects, Vince refers to his painting process as “building a painting”. During his residency at the Marie Walsh Sharpe he has taken the opportunity to vary strategies for making his paintings, challenging size and mark making, and testing the parameters necessary for a painting to “hold the wall”.

Vince states that he does not wish to fetishize paint or to create a “perfect” surface but that his work is should be a dance between gesture and hard edge utilitarian marks.

The discussion on mark making led to a conversation about whether Vince’s marks act as quotes or as “ideas of a gesture”, whether they are a depiction or a demonstration.

For Vince abstraction is based on faith, not in a religious or spiritual sense but as belief in a language and trust in a process.

Abstraction is often an activity of isolation. In the case of Vince Contarino’s practice, he challenges this notion by active engaging the outside world with other artists and through writing and blogging. He is involved in Progress Report and KCLOG blogs and recently co-curated The Working Title, a group exhibition at the Bronx River Art Center.

-Amanda Lechner

Discussion Links:

David Reed

Map of Metal

Article : The ecstasy of influence: A plagiarism

Quote below from Howard Hurst’s interview on March 21st, 2011-

“Vince Contarino is a New York based painter. His multi-layered canvasses explore the language of abstraction. From first glance there is something illusive in Contarino’s canvases, a tension between the forthright and the concealed. The artist often repurposes forgotten brushstrokes and colors, pasting them into his collages and works on paper. The result is something both beautiful and challenging, a floating soup of the painterly. Contarino’s belief in the ongoing relevance of abstraction is mirrored in his extracurricular activities.”

To read the full interview click on the link below.
http://artcards.cc/review/featured-artist-vince-contarino/3503/

Notes on abstraction

In preparation for the upcoming summer studio visits, please spend some time with a few notes on abstraction by New York Magazine writer, Jerry Saltz. When asked the question, is abstract art for real?, Saltz emphatically responded with The Jerry Saltz Abstract Manifesto, posted below. Enjoy.

Dear ______,

You are not alone. I too have heretical thoughts like yours. It can also take 30 years to understand why an all-white painting by Robert Ryman or a pencil grid on canvas by Agnes Martin is art.

I can’t tell you what abstraction is, but I can tell you a number of things that I think that it allows artists to do. What I say about abstract art could also be applied to representational art. With that in mind here’s “The Jerry Saltz Abstract Manifesto, in Twenty Parts.”

1. Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.

2. Abstraction is staggeringly radical, circumvents language, and sidesteps naming or mere description. It disenchants, re-enchants, detoxifies, destabilizes, resists closure, slows perception, and increases our grasp of the world.

3. Abstraction not only explores consciousness — it changes it.

4. All art is abstract. A painting of a person or a still-life is a two-dimensional representation of three-dimensional reality and therefore infinitely abstract. Whenever an artist sets out to make something it turns into something else that he or she could never have imagined or predicted.

5. Think of an abstract painting as very, very low relief — a thing, not a picture.

6. Abstraction exists in the interstices between the ideal and the real, symbol and substance, the optic and the haptic, imagination and observation.

7. Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.

8. Abstraction, like ideas, intuitions, feelings, and life, is not mimetic.

9. Abstraction is as old as we are. It has existed for millennia outside the West. It is present on cave walls, in Egyptian and Cypriot Greek art, Chinese scholar rocks, all Islamic and Jewish art — both of which forbid representation. Abstraction is only new in the West.

10. Abstraction gained ground in Western art after centuries of more perfected systems of representation. By the mid-nineteenth century, representation felt like a trap, and seemed empty, false, or limiting. A similar situation existed in the early aughts, after artists of the nineties re-deployed realisms in numerous ways. The field appeared closed off for younger artists. That’s why contemporary artists have not only begun to reexplore the possibilities of abstraction, they’re shedding much of the Greenbergian cant and academic-formalist dogma that attached themselves to it over the last 50 years. Abstraction is breaking free again.

11. Abstraction offers ways around what Beckett called “the neatness of identification.”

12. Rothko’s glowing floating rectangles of color are more than abstract patterns. They are Buddhist TVs or what Keats called “good oblivion. One sees what nothing looks like in them. They make you ask, “What light through yonder painting breaks?” (Now do you see how full emptiness and abstraction can be?)

13. Abstraction is just a tool. It is no less “real” than philosophy or music.

14. Abstraction is something outside of life that allows us to be present at our own absence or alternatively absent in our own presence.

15. Abstraction creates patterns of meaning and its own extremely flexible intricate syntax. It is astral synthesis.

16. Abstraction teeters on making empty gestures while also making deep statements.

17. The camera was supposed to supplant painting but didn’t. Instead, painting — ever the sponge, always elastic — absorbed it and discovered new realms.

18. Abstraction may speak in a sort of intra-species visual-electronic-chemical-pheromonal code, creating optical-cerebral networks and wormholes, organic maps of unknown yet familiar territories, may have a kind of plant intelligence that allows it to grow, proliferate, flower, change directions, and survive relentless aesthetic predation from a lay public.

19. Abstraction contains multitudes.

20. I’ve left out No. 20, because I want to hear your opinion: What else does abstraction do that’s special? Comments are open below…

To follow the original article, click HERE

-Audra Wolowiec

Yuka Otani – Studio Visit – May 31st, 2011

Studio Visit: Yuka Otani
Date: Tuesday, May 31st

Yuka Otani

Yuka Otani

Studio Discussion Synopsis:

During her studio visit Yuka Otani presented the preliminary work for two upcoming projects.

The first project, a continuation of her investigation of sugar glass, departs from her prior vessel work. In this project, Yuka has teamed up with Papabubble Specialty Confectionary to produce shards of crystal clear sugar-glass. Visually this candy convincingly resembles broken glass but is strawberry flavored and edible. Yuka uses this project to challenge her viewer to experience glass in a way apart from the typical sensory experience.  Instead of relying only on your eyes or hands the viewer must use their mouth and taste buds to fully experience this glass.

The sugar glass is sharp and potentially dangerous for the consumer. The group discussed what it means to invite an audience to eat glass and the various connotations of the plastic zip-top bag packaging for the sugar-glass shards. While Yuka primarily intends the packaging to be minimal and non-invasive, some participants felt the bags were in common with the packaging of illicit drugs and the typeface related to high-end cosmetics. The viewer/consumer experience may change dramatically based on the context and presentation of the sugar-glass, each with its own challenges and boons. The shards may appear as a generous artistic offering presented in a take-away pile in a museum or gallery context, or priced per each as a high-end confection at a specialty store or featured as a clever design object at a contemporary design retailer. In an upcoming exhibition of glass artists, Yuka will be offering the sugar-glass shards to exhibit goers as a performative sculpture.

Presentation was discussed as a way to promote personal experience.

Yuka is interested in designing ephemera that will connect the audience with the sensual experience of her artwork.

The other project Yuka is involved with is in its preliminary stages, but will also utilize ephemera to discuss and promote a personal experience. She has an upcoming residency at Watarase Art Project in Japan near the site of the Ashio copper mining disaster, which resulted in the acidification of an adjacent river. While in residence, Yuka plans to discuss with local residents their experiences with the polluted river and with water in general. Some of the anecdotal information that she gathers may be integrated as text into postcards that will be offered to the patrons of the Watarase Art Project exhibition space. The group discussed the appearance and presentation of the project as well as a new text work relating to Hōjōki or “The Ten Foot Square Hut” written in 1212 by Kamo no Chōmei. “The Ten Foot Square Hut” describes disasters that befall the residents of Kyoto in the middle ages paired with an intimate description of a personal dwelling. This text seems to be a framework for Yuka to engage the personal of her audience experience within a conversation on disaster.

-Amanda Lechner

Discussion Links:

Ronni Horn

Lee Ming Wei

Marfa, TX

http://www.anyspacewhatever.com

The Enduring Allure Of Chanel No. 5

Addendum: Yuka Otani at Papabubble

image courtesy of Yuka Otani

Meghan Gordon – Studio Visit – April 23rd, 2011

Studio Visit – Meghan Gordon

Date: Saturday, April 23rd, 2011

Location: Bronx, NY
Wave Hill –  Sunroom Project Space

Wave Hill Press Release for Gordon’s installation “Frederick Samuel Dellenbaugh would have liked to explore the Palisades”

Meghan Gordon investigates the merits of the cultural institution as an authoritative source for retelling the past. Gordon’s newest project, created during her Winter Workspace Residency, merges marginal fragments of Wave Hill history and reconfigures them through the lens of narrative projection. The crux of Gordon’s Sunroom Project is the artist and explorer Frederick Samuel Dellenbaugh (1853-1935), who, at age 17, joined Major John Wesley Powell’s second expedition through the last uncharted segment of the Colorado River. As the expedition’s artist, Dellenbaugh made a continuous drawing of the river’s left bank and helped prepare the first map of the Grand Canyon. Gordon first learned of the artist/explorer while researching the mural in Wave Hill’s Ecology Building, which has been attributed to Dellenbaugh.*

While naming unknown landforms to be mapped, Dellenbaugh proclaimed that one butte resembled an art gallery, an anecdote that inspired Gordon to create a butte art gallery within the gallery. The interior of this structure recalls the defunct, underground tunnel connecting Wave Hill’s Glyndor House to the Ecology Building. Gordon has installed paper tiles that mimic the Guastavino tiles that once lined the tunnel, suggesting the physical connection between the gallery and the mural, the notion of lost or missing history and the institutional desire to fill in the gaps. The structure also houses a video that partially retells Dellenbaugh’s adventure in which Gordon assumes the role of Edith, a misguided tour guide who uses the Hudson River as an inadequate substitute for the Colorado. On the walls of the Sunroom is Gordon’s recreation of period wallpaper, c. 1865. The painted vignettes are free-hand interpretations of Dellenbaugh’s drawings, which contrast the rigidity of the wallpaper’s pattern highlighting the containment of the wilderness and acknowledges the creation of a mediated view of nature.

Born in New York City, Gordon is a graduate of Rhode Island School of Design. She has been awarded numerous residencies, including Art342 in Fort Collins, CO; the MacDowell Colony in Peterborough, NH; the Seven Below Arts Initiative in Burlington, VT; the Kimmel Harding Nelson Center in Nebraska City, NE; and has twice been a Fellow at the Fine Arts Work Center in Provincetown, MA. Gordon is currently a Dieu Donné Workspace Program Artist, a Lower Manhattan Cultural Council Workspace Resident and a New York Foundation for the Arts Fellow. Gordon thanks Richard Maurer for invaluable contributions, as well as the Lower Manhattan Cultural Council, Materials for the Arts and the New York Foundation for the Arts for their support.

*The unsigned mural was attributed to Dellenbaugh by William Stiles (1912–80), former curator of the Museum of the American Indian, who analyzed the mural and identified its scenes of Native American life. However, descendants of George W. Perkins, who commissioned the mural in 1909, believe that it was painted by Howard McCormick (1875–1943).

Organized by Assistant Curator Gabriel de Guzman, the Sunroom Project Space provides an opportunity for New York’s emerging artists to develop a special project or create a new body of work to exhibit in a solo show.

http://wavehill.org/arts/meghan_gordon_sunroom.html

http://meghangordonstudio.com/

Meghan Gordan, Rachel Frank

Meghan Gordon, Abby Merrick

Exhibition Discussion Synopsis:

The background information for Meghan Gordon’s project at Wave Hill is best stated above.

In her work, Meghan Gordon investigates history, trust, interpretation and presentation. She is drawn to the awkwardness of incorrect theses and failures in history.

The piece at Wave Hill fills their sunroom space. Covering the walls of the room, Meghan has fashioned hand-painted wallpaper featuring renditions of Frederick Samuel Dellenbaugh’s sketches of the Colorado River banks. She has also built a painted structure out of paper, paper pulp and cardboard in the center of the room which visually references one of the buttes recorded in Dellenbaugh’s log; he referred to it as an “art gallery”. Inside the “art gallery” the viewer finds Guastavino tiles made of paper overhead referring to the structural tiles that line a now defunct underground tunnel that leads to the Wave Hill building housing a mural that was attributed* to Dellenbaugh. Also in the butte is a video that documents “Edith” an ardent yet somewhat inept docent and bewigged alter ego of artist Meghan Gordon. Edith incongruently presents the Hudson River as a proxy for the Colorado in this video tour of the Powel expedition. This video serves as a simultaneous mouthpiece and veil for Dellenbaugh’s experience as presented though quotes from text on the Powell exhibition. Edith’s monologue provides a narrative grounding of background information, through artifice of situation and production quality, while effectively obscuring the information and adding moments of deadpan humor.

Meghan discussed her material choice of paper and cardboard as a lesson in impermanence. As her background is in painting, Meghan often approaches her work with a 2D mindset to make 3D pieces. Her investigation of historical subject matter and objects began with a series of paintings of the contents of museum period rooms and other personally notable interiors. This work led her to other researched projects where she replicated paper objects lost to history and created a period room with a borrowed narrative.

Her current project is more of an interpretation of research than a re-assembly of the documented. The group discussed the role of the historian and the role of the artist.  By trying on both roles in this project Meghan has employed the different liberties allotted to the historian and artist respectively. So far in her projects she has been hesitant to use text or provide “the official say” on an event, time or object. She prefers the role of the interpreter or re-interpreter of history rather than the purveyor. Meghan is interested in the different ways in which the public engages the historical framework and the art space. On many levels her work is made as an institutional critique of the authority of information as a given. Her approach is meant to be at once critical of herself as an artist, Dellenbaugh as a recorder, historians, critics and the audience, citing that viewers are responsible for considering information presented to them. In this project however, Meghan does not force factual awareness by misleading the audience, but instead molds the way images and anecdotes are rendered and viewed. The group compared the differences between the performative aspects of this project to the making of objects and environments and the way that the viewer interacts with each aspect.

-Amanda Lechner

Discussion Links:

Coco Fusco and Guillermo Gomez-Peña. Undiscovered Amerindians

Mark Dion : Travels of William Bartram Reconsidered

Andrea Fraser Museum Highlights: A Gallery Talk

Andrea Fraser


Grants & Fellowships Calendar

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