Friday, November 19
|Case Study: Loch Ness (Some Possibilities and Problems)|
2001-2010 (ongoing) Gerard Byrne (via Auckland Triennial)
...a playful conceptual-art riff on the Loch Ness Monster mystery. The installation comprises a slide-show, a grainy silent film, audio of a guy reading what seem to be accounts of sightings of Nessie, text summaries of "sightings" pasted to a wall, and a tree stump. But mostly it's black-and-white photos depicting a strange ripple on the lake, driftwood, a swimmer's arm breaking through the water - all things that might be mistaken for a monster if you were so inclined.The Loch Ness legend is well known. There has never been any true evidence of the monster's existence. But Byrne is not so much interested in presenting the legend to us, so much as he's trying to provoke us with questions that Cook suggests: "How do we see? How do we trick ourselves into seeing things that might not be there?". Or as Nicholas Baume, Chief Curator at the ICA, describes, "he plays with our sense of period and context, fashioning his work so that we can never be exactly sure of what we are seeing."
Saturday, November 6
|Dan Cameron (Photo via Art Fag City)|
New York is a far cry from Portland (or maybe not) but the artist survival woes are the same. How does an artist develop a career of making things while making a living?
The interviewee's are genuinely down-to-earth about their practice. Maybe confidence like that is exuded after establishing yourself or eliminating doubt. Confidence is a common trait among young artists, but being down-to-earth is certainly not.
Tuesday, November 2
|Two Paintings by Roger White (via Rachel Uffner Gallery)|
The paintings I'm thinking about might articulate some sort of tangible space but with non-objective shapes. They do not quite fall within Abstraction.I thought the paintings of Roger White work this way. White's paintings are comprised of non-objective and organic forms making up patterns. But in some of the paintings the patterns deviate and sometimes the abstract forms feel reminiscent of actual objects, like a hat, lampshade or folded something. But the forms never materialize beyond that and ultimately we're left looking at only the relationships of a painting process.