Archive for October, 2007

Untitled, Unknown, Perfect.

I went to greasy breakfast and thrift shopping with a good friend in Ishpeming yesterday, a smaller town about 20 minutes southwest of Marquette. I really can’t think of a better way to spend a Saturday afternoon than eating a big meal and digging through junk with good company. Ishpeming is a strange but sometimes intriguing place to visit – the affects of the rise and decline of the mining industry are much more prominent in certain towns in the Upper Peninsula and Ishpeming is definitely one of them. This is characterized by the typical rows of empty storefronts, leaving the downtown somewhat eerie yet pleasantly quiet. However, there does seem to be an abundance of two things in downtown Ishpeming: bars and antique stores.

We decided to go out wandering through a few of the antique stores after breakfast – I haven’t really been in many places in Ishpeming besides the Salvation Army, Congress Pizza and Da Yoopers Tourist Trap (which I’m proud to say I’ve been to three times in the past 4 months alone). We went into an old theatre-turned-antique store building and I was instantly warmed by it. The entrance still contained the old lobby and the concession stands were still in tact, only covered and filled with the stuff of usual antique stores. Entering the main space through the lobby doors is when I really fell in love with the place: the smell of old combined with the bright but not overbearing lighting, the rows of nooks lining what was once the main seating area (now open and seatless), the white walls, squared off in areas and painted with soft red, flowery decorative icons. It also helped (a lot) that Patsy Cline played from a small radio behind the counter. The entire building, and everything in it and about it had my heart. Alas, i did not have my camera.

But, instead of taking photos, I did something much better. I bought some art. A painting, to be specific. I was perusing the jewelry when I was beckoned over to a wall in a corner, sort of hidden between the entry way and the counter. When he pointed at the painting, I sort of gasped:

The painting that will destroy all other paintings.

I don’t actually own much art. Most of the things I do own are from trading with friends – many of the trades are from when I last lived in Marquette. For some reason I never saw a whole lot of art in grad school that prompted me to inquire about trading. Maybe it was also because I had less physical things to trade for in grad school (“Hey I’d like to own one of your pieces of art. Want to trade? I can tell you all about Bentham’s Panopticon in exchange. Cool?”)

A psychology of barter economics aside, the point is buying a painting, something that would hang in my residence, was sort of a big deal. But just look at this painting! Every color in the rainbow, in various stages of mudied glory, covered by a mysterious island-row of menacing trees. It was the bright bright blue (in what I’m assuming to be more water behind the trees) that won me over – with the lighting the painter was suggesting with the placement of sun, that color would not exist in nature! There would be no highlights on that side of the trees! The reflections of the trees in the water in the foreground are completely mishapen and misproportionate! What is that strip of white? A wave? Snow? What the hell kind of trees are those anyway? Is that some kind of varnish over the trees? A little goopy wax in the corner? Yes! Yes! Yes!

Maybe it’s simply just so bad in a puzzling way that it keeps me interested. I keep looking at it in different light, hanging in my dining/living area. In the daytime it’s bathed in natural light. In the nighttime with artificially produced low lighting, the trees are even more prominent and dark. Painting often doesn’t keep my attention for very long. Maybe I shouldn’t be confessing this, but I often get fidgety around traditional art. Regardless of whether it’s a masterpiece hanging at the Met or a provincial looking scene hanging at a gift shop, I find it hard to focus on what I’m seeing. It has to be really something to make me pause for longer than a minute, and now I have one hanging on my wall. All that for just $15 plus tax.

Many thanks to Marc for pulling me over to that corner and letting me buy his find.

Comments (1)

Yin Mei

An image from the Marquette Mining Journal of a performance by Yin Mei at the DeVos Art Museum. Photo by Miriam Moeller.

Yin Mei at the DeVos Art Museum

Leave a Comment

Unfit for Art

In today’s New York Times, there is an article about the artist Lawrence Weiner, who has his first ever U.S. retrospective opening at the Whitney next month. Weiner has been working with text, directly applied to surfaces: “2 blocks of salt / (in the morning mist)”, “some sticks stuck”, “in the heat of the day, in the heat of the night”:

Lawrence Weiner at MoMA
(from MoMA’s website)

Conceptual approach, combined with language that just happens to be installed as large sans-serif fonts = Melissa in love. Forty years ago Weiner wrote about “conceptual art”:

“1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.”

Weiner more recently said:

“Your personal enlightenment of your personal angst is not a fit subject for art. It might be a fit subject for literature, or poetry perhaps, but art is about material objects.”

I’ve been thinking about these different approaches in art making between the highly subjective and highly objective. I guess the questions I pose are, is subjective art selfish? Does objective art still have a personal influence from the artist? I feel somewhat pressured to plant my curatorial flag in one or the other, but if I did, I would tend to lean towards the objective stuff. It’s more accessible for me, less obvious and less dramatic at times. Perhaps that is my easy upbringing and privileged and educated background – maybe if I’d had real personal hardships I’d see art differently. I’d search for something personal to identify with. Which is sort of a 180 for me, if you were to look at the work I was making during undergrad, it was dripping with feelings. I often manipulated text in my work, making it more about shape than words, but it was still coming from an emotional source.

As I’ve studied and thought about art since then, I find myself drawn towards art that is more obtuse, less about surface and more about subtlety and the process of communication through objects (including text as object). In three years I’d like to have a show organized about the use of text in art, but how text functions as the medium of communication in art. Objective uses of text in art.

In the Still of the Night
(image from http://www.i8.is/)

This is where Weiner’s work gets really interesting: the above photo is a piece he did in Vienna. The tower was once used as a military tower during the Nazi-era. It’s loaded with symbolic history, yet the meaning of the text is not overtly about the historical uses of the tower. If I were to see this in Vienna and didn’t know anything about the tower, the words would be completely empty to me. I would access it based on the aesthetics of the architecture and text. Yet there is a personal connection for those who know it’s history, and regardless of Weiner’s intent, something completely different can be (and probably is) read by those who know it was used in World War II. Complex and subtle. Quite simply, in my opinion, this is the way art should be.

Leave a Comment

Performing

There was a slight hiccup last week in the scheduling system with the docents and elementary school kids. I’m incredibly lucky to have about 20 Marquette-area citizens who volunteer to give tours – mostly retired folks who love art and education. Each year, an exhibition is chosen and a letter is sent to area schools inviting them to schedule a tour and exhibition-related art project. The Friends of the DeVos Art Museum also provide reimbursements for busing costs. The Art of the Guitar exhibition (closing today) is the one that was chosen for this year and the museum has had close to 500 kids come through on docent-led tours in the past three weeks.

The hiccup meant two docents in the morning for 102 kids – 5 different classes. Since each class typically has 2 docents each, this was a little bit of a problem so I stepped in to help, as did Chris, who is now forever known as work study employee of the year. In the multi faceted world of museum operation, I like to think I can do quite a bit – curatorial, registrarial, preparator, publicity, web, etc. etc. – but beyond a smattering of exhibition tours given at MASS MoCA and SAIC, I have no background in education. I don’t think the 1st and 4th graders minded though and they seemed like they had a good time – and hopefully learned something.

I most enjoyed asking the kids about Gibson’s 20th Century guitar, which was a guitar commissioned in 2000 to “represent the most famous people and events of the last one-hundred years”. There are easily over 100 images painted on the front and back of the guitar, and the images range from actual historical figures (Mother Theresa, Ghandi) who, it seems fair to say, have made incredibly important contributions to society, to the 1960s Smiley Face and Barbie. I’m not going to indulge my urge to go into a pretentious tirade about pop culture references versus political events being put on the same guitar. Commercial pop culture is here to stay, is a huge influence on the developed world, and a Gibson guitar is hardly the place to wage an elitist battle.

As I type this, sitting in a lovely coffee shop in downtown Marquette, I overheard two patrons talking about getting down to the museum to “see the cool guitar show” before it closes. Literally, as I’m typing this. I’ve been shaken out of my deep ruminating and reminded it’s time to get to work and prep for the deinstall.

Leave a Comment