Posts Tagged 'Sculpture'

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

Satellite Studio Fuse – Audra Wolowiec at Wassaic Project

Audra Wolowiec is in residence this month at Wassiac Project in Wassaic, NY.

A note from Audra:

Wassaic has been a great experience – having a huge amount of space to work and think removed from the pace of the city. It seems everyone participates to create a sense of community – from the CSA farm onsite to open studios to the local general store. The first image is of the barn that houses more than 10 artist studios, a woodshop, silkscreen studio, food project space, auction ring (and more, the barn is an enormous converted 1875 livestock auction house) and the following images are from my studio – text pieces, concrete casts, and plaster stencils experimenting with objects that convey the physicality of sound through language and voice.

The Wassaic Project is an artist-run sustainable, multidisciplinary arts organization that focuses on community engagement and facilitates artists and participants to exhibit, discuss, and connect with art, each other, our unique site, and the surrounding area.

http://www.wassaicproject.org/

www.audrawolowiec.com

Satellite Studio Fuse – Rachel Frank at Women’s Studio Workshop

Rachel Frank is in residency at Woman’s Studio Workshop focussing on a book endeavor that thematically ties in to her recent performance project.

Note from Rachel:

“So far the Women’s Studio Workshop bookmaking residency has been amazingly productive and I have learned a tremendous amount in the short time I’ve been here so far. I just finished my silkscreen printing and collating of my printed pages for the 57+ edition of books. For the final three weeks I will be hand stitch and tape binding the book signatures and making book cloth covered hardcovers that will each be embossed using the letterpress.

(Pictures include my wonderful studio intern helping me fold each of the signatures before collating, a picture of one of my stitched spines drying in the press, layers of the edition printing, and some images of the silkscreen studio)”

Audra Wolowiec – Studio Visit – August 4th, 2010

Studio Fuse is excited to present a studio visit and conversation with artist Audra Wolowiec Wednesday, August 4th, at her studio in Brooklyn.

blog: www.lineforms.blogspot.com
website: www.audrawolowiec.com
Studio AND: www.andindustries.org

Left-Alexis Semter- Right to Left-Nik Pence, Meridith Pingree, Kai Viestra, Susie Huang

Yuka Otani, Rebecca Sherman, Stephanie Lempert, Susie Hwang

Audra Wolowiec

private space in a public time

Synopsis:

Much of Audra Wolowiec’s work is related to sound, often  considerering sound in relation to understanding language. At times  Audra creates silence and absence where there was sound or content. In her audio piece, private space in a public time, Audra recorded Vito Acconci’s text, Public Space in a Private Time, read it aloud, and then edited out the middle of each spoken word. The result is a sound piece of breathy noises separated by short intervals of quiet. In a simlilar vein, for the Sound of Silence Audra has sanded smooth the Simon and Garfunkel single rendering it recording-less.

Often Audra’s work does not implicitly utilize sound but is indexical to it. In some of her sculptures she has created objects from spaces that hold, carry, or buffer sound. She cast the negative space within a megaphone and cast squares of sound absorbing foam in concrete, a material that has been used to reflect sound in military and industrial applications. During her studio visit, Audra also presented works on paper featuring shapes similar to these sculptures. The screened concrete prints seemed to function as supporting material for the sculptures or as quiet notes on their own.

In another project Audra clipped images of lips from a daily newspaper reconfiguring the mouth gestures as small collages. These pieces are meant to be read as musical sound scores as much as they are visual compositions. As scores, the compositions have been performed by singers, musicians and acted out by the artist. During the studio visit they were presented  as visual context only. When collaborating with others Audra likes to give over as much control as possible to her collaborators laving the experiences and outcomes open-ended. The group discussed interpretation when discussing this work; “Where is the work in the instruction or in the interpretation of a given project?”

Audra is moving towards inviting or creating experiences in a space. There is a fine line between what is given by the artist and what is required of the viewer. The group discussed the delayed experience of the slow read of some of Audra’s work and questioned whether her approach involves a building up or paring down when conceiving and creating her projects. She responded that her process involves paring down her ideas and methods; she is aiming for a point that is just enough information to communicate an idea or feeling.

During the studio visit and discussion participants brought up a range of other topics and ideas that are related to communication such as reading micro-expressions, speech analysis, coding, ransom notes and transcription.

-Amanda Lechner

Links:

Donald Judd

Anne Hamilton “face to face” photos

John Cage

Christian Marclay recent Whitney Museum exhibition

specific indexical semiotic sound use in film

How to detect micro expressions

Sound Physics 101

Bio:

Audra Wolowiec’s multidisciplinary artwork mines themes of communication, voice, and ephemeral moments of the everyday. In recreating phenomena and trace effects, she explores the idea of a fading connection to create an elusive but shared experience.

Her work is often collaborative in nature and includes a series of performance scores that have been performed in New York and Los Angeles. She also works under Studio AND, a collaborative project with the artist and designer Niels Cosman. Together they have shown work at Flux Factory, Conflux Festival, and their project Urban Meteorites will be featured in Issue 38: Futures of Threshold Magazine by MIT Press.

Audra received an MFA in Sculpture from the Rhode Island School of Design in 2007 and BFA in Textiles from the University of Michigan in 2002. Her work has been shown at Art in General (New York), Pocket Utopia (Brooklyn), and the Museum of New Art (Detroit).

Studio Fuse on Tour: Recent studio visits in Provincetown, MA

April 18th, 2010 we had the opportunity to make three quick studio visits in Provincetown, Massachusetts.

Taylor Baldwin is in his final weeks of his second year as a fellow at the Fine Arts Work Center in Province Town. Taylor’s sculptures, drawings and installations bring together disparate imagery from natural history, the everyday, and the fantastic to form new sometimes impossible relationships between the constructed objects and ideas. He is now preparing for a residency at Bemis Center for Contemporary Art in Omaha.

Taylor Baldwin

"i ain't afraid of no ghosts" image courtesy of Taylor Baldwin

Matt Bollinger is also a FAWC fellow. Matt’s work often reconstructs memory and other abstracted narratives through drawing and painting.  Most of his current pieces of work are large or near life scale graphite drawings with surprising levels of surface texture and gesture.

"Screen Door" image courtesy of Matt Bollinger

Matt Bollinger

Meghan Gordon is a FAWC alumni currently working in Provincetown. Meghan’s recent sculptures and drawings replicate objects of historical-narrative value, translating them part-by-part in new materials and presenting them in new contexts. She Recently finished a residency at the MacDowell Colony where she began some of the work that is in-progress in her studio.

"Replacement Wood-Burning Stove for Edwin Dickinson’s Studio" image courtesy of Meghan Gordon

Rachel Frank- Studio Visit – February 17th, 2010

Studio Visit: Rachel Frank February 17th, 2010 Brooklyn

http://www.rachelfrank.com/



During her studio visit Rachel Frank presented scenes and preparatory materials from Sleep of Reason her upcoming performance piece which refers to the Abu Ghraib photographs through allegory à la Goya. This project takes on images that have become part of the contemporary lexicon of symbols for abuse and torture  and brings them out of the one-to-one arena of the internet, television, and newspaper into a literal theater with actors and patrons.

Studio visit participants discussed the gestural physicality of the set and costumes and how these details affect the narrative of the performance. The group also considered the place of allegory in an era and society where dissent is permitted and how allegory relates to the work of other artists who have referred to Goya and mined the Abu Ghraib photos.

Amanda Lechner


Discussion Links:

Goya – Caprichos

Folkert de Jong

Yinka Shonibare

Matthew Day Jackson

Paul Chan

UPDATE:  Images from the first performance:

Still from "Sleep of Reason" at March 6th performance at The Bushwick Starr

Still from March 6th performance at The Bushwick Starr

James Huang -Studio Visit- January 27th, 2010

Studio Visit: James Huang
http://www.james-huang.com/
Wednesday January 27th, 2010
Williamsburg, Brooklyn

"The Final Frontier" and Audra Wolowiec

Stephanie Lempert and "The Golden Age of Plaster"

"The Origin of the Things"

Left to Right - James Huang, Jonathan Peck, Courtney Tramposh


Left to Right - Michael Berens, Susie Hwang, Rachael Wren. James Huang

January 27th, 2010: James Huang presented a collection of recent work at his Williamsburg studio.

Often James’ sculptures employ narrative and decorative elements, which thematically imply different notions of time and makes tangential reference to architecture. During the discussion James mentioned the disconnect between two-dimensional representations of the third dimension and the actual visual and physical experience of objects and spaces. The group discussed the push that some 2-D artists feel toward working in 3-D, and that some sculptors feel toward a theoretical fourth dimension. This push seems to play out narratively in James’ sculptures, particularly in The Final Frontier, which makes reference to a sci-fi show’s stage set and to the idea of the non-corporeal body via teleportation. The physical surface of the sculpture is laden with finishing techniques made to look like venetian plaster, marble, and metal through faux finishes, lighting effects, and reflections encouraging the viewer to reflect on which materials are actual and which are implied. In The Golden Age of Plaster, a series of contemporary tools sculpted in plaster with hardwood details–a chain saw, a coffee maker–imagines a hypothetical archaic people envisioning the future though plaster.

Participants debated how the level of invention in James’ smaller works compared to the larger highly realized pieces, and whether the small sculptures serve only as drawings/proposals or if they also succeed as complete works on their own.

The group discussed the sculpture titled The Origin of the Things not only as rumination on the four elements (earth, wind, fire, water) but also as a study of evolutionary theory. The group posited the nature of the artistic creative process as “non-Darwinian” in that evolution in art work is determined by a cognizant force (the artist) and the variations on a theme are created whole. Simultaneously this sculpture plays with themes of myth, creation, science, humor and narrative – each theme eclipsing the next.

In many ways James’ sculptures are tableaux of subversion–indexical objects, that in their meaning or making transpose the response to the ideas or objects the sculptures refer to.

-Amanda Lechner & Rachel Frank

Discussion and Artist Links:

Kant – The thing in Itself

Dematerialization – Lippard

Dematerialization – Roddenberry

Jason Tomme

Indexical Modernism & Ethics

Ricci Albenda – Tesseract

Monika Sosnowska projecT 83 @ MOMA 2006

Nicole Eiseman – Jesus Fucking Christ

Dennis Oppenheim:

Device to Root out Evil 1997

Stage for a Film Set  1998

Performance Piece 2000

Ivin Ballen Studio Visit – November 4th, 2009

Ballen_01image courtesy of Ivin Ballen and Winkleman Gallery

“The artist Ivin Ballen’s buoyant renderings of networks and global production systems express a bracing, “thoroughly modern” sensibility and an interest in the existing, and potential, links between consumption and well being.”

—Lynn Crawford, The Brooklyn Rail, February, 2008

Ballen 04

Jeanne Jo, Audra Wolowiec, Ziad Naccache, Rick Siggins

Ballen 03

Ziad Naccache, Kaveri Nair

Ziad Naccache, Kaveri Nair

Ballen 01

Ballen 05

Stephanie Lempert, Ziad Naccache, Meghan Petras

Ballen 02

Discussion of Ivin Ballen’s work took place at Ivin’s second solo exhibition “Sleepless in Seattle” at Winkleman Gallery in Chelsea. Ivin’s relief sculpture/paintings occupied the walls. A hand-built stage and a PA system, with a surface treatment similar to the wall pieces, filled the center of the room. Over the course of the exhibition, Ivin invited several emerging New York bands to perform on his stage.

While never absolutely answered, the question, “Is this Painting or Sculpture?” was voiced early in the discussion and seemed to linger just under the surface of the discussion throughout. Also debated was the link Ivin’s project promotes between visual art and music performance and the issues engaged by turning a commercial gallery into a live music venue.

Painted casts of negative space were viewed and discussed across the empty stage. Participants in the conversation talked about how the work engages absence through the process in which it is made and presented. The work in the show prompted discussion of several divided themes, some almost diametrically opposed: improvisation and permanence, object-hood and trompe l’eole, absence and performance, sarcasm and genuineness, optimism and negation, homage and critique, symptom and reaction.

-Amanda Lechner & Rachel Frank


Discussion Links:

Relational Aesthetics

Relational Art

Unmonumental :: NewMuseum.org

Jason Rhodes

Bruce Nauman

Jessica Stockholder

Liam Gillick

Robert Rauschenberg

Dario Robleto

Sleep in it – “Cardboard Box” Duvet Cover

(A collaborative piece with Mayen Alcantara)


Plexiglas, water, pump, wood, video

2008

yuka+mayen

yuka otani

<back to works top>

AND Studio Visit – September 30th 2009

AND visit 05

Ziad Naccache, Jeanne Jo, Niels Cosman

Ziad Naccache, Jeanne Jo, Niels Cosman

AND visit 06

Studio Visit Synopsis:

AND is a collaboration between Audra Wolowiec and Niels Cosman that merges and reacts to a variety of disciplines including science, science fiction, design, sculpture, performance, natural history, and hoax.

The studio visit group viewed a series of Urban Meteorites from AND’s Department of Mineral Science. AND’s official language to describe Urban Meteorites is that of a “Golden Guide” or Junior High style field log. The descriptions and maps are used to explain complex processes in a matter-of-fact manner to the lay observer. Differing from a text book however, AND is intentionally creating a science based fiction as the supporting materials for Urban Meteorites. Urban Meteorites and Urban Tektites are composed of common detritus of industrial and post-industrial areas, broken automobile glass and concrete. These cast sculptural objects have a few possible presentations: as a museum exhibition scenario complete with vitrine, a keepsake to hold, a discovery on a Brooklyn sidewalk, or a piece of contemporary design or furniture. The blurred lines between contexts and functionality were topics of contention during the group discussion. The group debated the boundaries and differences in language between art and science and where AND’s projects fit into this continuum. Attendees questioned who the appropriate audience is for the work: art collectors, geology buffs, or true believers. This discussion of audience led the group to debate the ethics and art of hoaxing and the difference between hoax and fiction.

-Amanda Lechner


Discussion/Suggested Links :


Walmor Corrêa


Cryptozoology: Out of Time and Space (exhibition)


Laurie Anderson at NASA


Mark Dion

Franz West

Christine Hill

Secret Science Club

Bigfoot Research Institute “He exists because we exist!”

Morbid Anatomy

Observatory Room

UFO Contest, hosted by Joshua P. Warren

AND visit 07

AND visit 08

Studio AND is a collaboration between Niels Cosman and Audra Wolowiec. They share a studio in Brooklyn, New York where they make projects that exist somewhere between fact and fiction, art and design. They started working together while students at the Rhode Island School of Design and have been featured at Model Citizens NYC during the 2009 Design Week at Exit Art and at the 2009 ConfluxCity Festival. More about their project, Urban Meteorites, can be seen on their website www.andindustries.org.

andseal

Meghan Petras Studio Visit September 16th 2009

Meghan Petras (website)
PetrasVisit01

PetrasVisit03
PetrasVisit04
Grace Teng
x-painting
ferns

The conversation with Meghan Petras took place at a space in Chelsea where she recently hung a small solo show. All of the works were part of a body of work created within the course of a few weeks keeping in mind the space in which they would be exhibited. The works in the exhibition were chosen from a larger group of small oil paintings connected by the time frame in which they were made, their media and subject matter. Meghan described this group of paintings as a reaction to periphery subject matter and related them to human interactions with nature. Many of the works were referential, with each ruminating on different flora and fauna while experimenting with the medium of oil paint.

Looking at a diptych of puppies wearing top hats and a flattened plane of roses sketched radially, the group discussed kitsch in relation to the imagery, invention, and handling of materials within the paintings. The point at which the work transcends kitsch and where it butts heads with taste was an area of contention within the group conversation.  Whether the most abstract or non-referential piece in the show was out of place or whether it held the other work together was also debated.

Though she has been making 2-D images for the past few years, Meghan’s background and training is in sculpture. We discussed the difference between practices and the challenges of painting from a sculptural stand-point.

-Amanda Lechner


Grants & Fellowships Calendar

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