Posts Tagged ‘shows’
Installing at MOT (Museum of Contemporary Art, Tokyo)
The unsung heroes of the art world include museum installation staff. They are often accomplished artists in their own right, and with large projects like these, they are indispensable. MOT‘s team was fantastic. We had a few hiccups (one of which was that humidity in Japan caused my print to wrinkle), but they are saving the day and making my work look its best.
I cannot tell you how great it is to have such careful, dedicated, clever folks to entrust my work to.
Throughout everything the exhibition curator Kasumi and another curator, Uta (who is assisting me with translation and helping me personally) have been amazing in helping me create my vision in their space. The museum space itself is amazing. I only wish I’d had more lead time to do even more (especially with all that vertical space!!!) I can’t wait to see everything after participation!
On a more personal note, one of the many new medications for CFS/ME that I am using is helping tremendously with my energy levels and recovery rates. This meant I was able to do this install so much more easily and made this trip so much better.
Identity Tapestry at the Marjorie Barrick Museum
I am pleased to announce that The Marjorie Barrick Museum in Las Vegas has commissioned Identity Tapestry #12 as part of a community initiative in Healing Through Art in the wake of the shooting there. It will be on display in the West Gallery from February 2 – May 12, 2018. From there it becomes part of the permanent collection.
I will also be speaking in an artist panel on “Art with Social Purpose” hosted by Nevada Humanities on May 4th, 7PM at The Writers Block in downtown Las Vegas.
I have been happy to prove to myself, with this third installation in a museum since I became so ill with CFS/ME that I am now in a specialized wheelchair outside the house, that I can still work productively as an artist. This has been thanks to the support of friends, family and assistants.
Almost ten years ago now my process and my work went through a serious change with pregnancy and the birth of my daughter. There were “limitations” that made me use different materials and ways of working, and they prompted the shift to Particaptory Installation. That work has lifted my art and my career as an artist.
This is another shift, and it is already teaching me a lot that I can put into my work and practice. I fully expect it will continue to lift my work.
Natural Dyeing for Sukkah Project
I’ve been invited to inhabit the Sukkah at the Contemporary Jewish Museum (San Francisco) on October 8th for one day of the holiday of Sukkot. They invited six artists to each take a day to create an open studio or installation project inside the frame of the Sukkah. I decided to take the opportunity to do a new Participatory Installation piece within that frame entitled Refuge of Leaves.
Process
These are photos of the dyeing process for this new project. These are the first three batches, using pomegranate dye, rhubarb dye and artichoke dye. Each dye changes depending on if I scour the paper first, or if I add a mordant, or if I add iron. I did every combination on four kinds of paper to get a wider variety.
As I’m going, I allow the paper to show some marks- wrinkles, the mark of the iron, irregularities, etc. Showing their history, that they have been through something, a difficult process that may even damage them seemed like a perfect parallel to individuals seeking refuge, to people who had a story to tell.
About the Piece
Traditionally a Sukkah is a symbolic ritual space of refuge in the wilderness created for the holiday of Sukkot in the Jewish faith and tradition. “Refuge of Leaves” creates a Sukkah as a space for reflection where people from many backgrounds can reflect on and share their personal experiences of refuge from “wildernesses”, whether physical or metaphorical. As a Sukkah it symbolizes a liminal space of safety within the wilderness between worlds.
I followed traditional aspects of the Sukkah in using natural plant-based materials in the form of a variety of papers from different places and times, including papyrus as well as paper that could be put through a modern printer. These are for participants to write responses to their choice of prompts on the subject of refuge. I am hand-dyeing the papers with natural dyes to mimic the color range of plants one might build a traditional sukkah from. The dyeing processes also makes each piece of paper individual in color and texture, just like the people writing their responses.
The word “leaves” in the title functions in a number of ways. The individual leaves of paper in a larger book, the plant leaves that form a traditional Sukkah, and the nature of a this kind of refuge as a temporary shelter (not a home) that eventually requires one to leave. The structure is very literally a refuge made of leaves that each participant leaves behind.
As part of this project I will be there from 10AM until 4PM to discuss my work and facilitate the process. Please join me.
At College of the Redwoods
Today Between the Lines (experience exchange) went up with the help of the head of the Black Student Union and the Professor heading the Book of the Year project. There are always hiccups, but now it looks exactly as it did in my mind and even though the official opening isn’t until Thursday it already had some participation.Some of the students who will get to participate are taking correspondence courses from prison, and I’m so glad I was able to get something of the piece to them, because having a place for their stories to be told is important.
My interview for the local NPR member station is here. It doesn’t have the image and specific link yet, but it is the Feb, 21 one.
The piece works much like Scales did. Participants write a response to a writing prompt on a hand-painted paper and exchange it for someone else’s. Then they read that person’s response and tie it to the frame which they feel it belongs most to (Repression, Expression, Privilege, Opportunity, Love, Hate (fear), Resistance, Compliance, Accepted, Suspected, Hardness, and Openness). Being asked to place it not only gets them to read someone else’s experience, but it also gets them to think about it in the context of the themes in the book.
I wrestled a lot with the themes and questions. I had to tailor the themes and questions for people who might not have read the book yet (half the students read it in the second semester), and also to make it approachable. So much of what is wrong with the world that we need to change is things we cannot bring ourselves to engage with. My job is to engage people, so I find myself walking the line of bringing up difficult issues in such a way that people can approach at their own speed, even in a way that seems fun and colorful.
I’ll show more about this new work later when I have more pictures of participation, but tonight I’m thinking about the screening of 13th at the college and the thoughtful, powerful discussion moderated by the Black Student Union afterwards. The students I have met here have been wonderful and I am honored to be here.
#DadaTaroT @ open studios
I did a less formal version of the #DadaTaroT piece at this fall’s open studios. I am really enjoying this piece! A lot of people asked some pretty intense questions, and many interesting interpretations and conversations arose.
A few odd things keep happening: out of the (4?) times people have asked about Trump winning the election (the piece was made during the primaries), Elvis has been drawn three times out of the nearly 100 media cards. What is one to make of that?
Another thing that has happened at least three times is that pairs of friends have picked the same card after the entire deck was shuffled.
Two groups went as three people together instead of a pair.
In this iteration, a questioner asked about the nature of the artist as a child, and the person answering was actually quite right. Another person made an offhand comment that the questioner would get a tattoo on their hand… which it turned out they already had. A surprising number of people asking about their own mortality.
Narratives upon narratives.
Apologies… the notes on the two responses seems to be lost. I’m working on recovery and will post them when and if I get them.
The Crucible of Deadlines and Constraints
My problem as an artist has never been lack of ideas or even crafting skills. The real skill is deciding what is most important and when, what not to do, what to sacrifice, what to put the most time and effort into. Drawing itself is an act of selection- what line to place, what line to ignore, what line to emphasize, tweak, or ghost.
So right now I have a good problem for an artist- two shows at the same time. One I committed to months ago, but without a specific piece. Since I knew I could have more space for that show I prepared to spread out and create a larger installed environment. Then I was invited to be in a show in a museum just outside Zurich, Switzerland. They wanted a specific piece, and it is one I have to be there to put together. And they open two days apart.
Now that the Switzerland one is confirmed I’m turning back to the first one. Suddenly I have more constraints. Something that can run itself. Something smaller and easy to install. Still something interactive. In the case of this show, something both contemporary and Dada. I was intimately familiar with Dada before I left high school and I loved it then, but two more advanced art degrees have actually put me at more of a distance. So I dove back to the source. I re-read the manifestos, looked back at the beginnings and what motivated them. Suddenly an entire new interactive, small, easy to set up artwork burst out of my head. And it will work. And it comes right out of the unconscious pool of all the ideas I am constantly exploring. Better still, because the process of Dada involves some randomness, it will be fun and surprising to make. I’m excited.
When I have enough time and resources to do whatever I want without a burning idea starting in my mind and a place to put the result I do very little that gets finished. Give me a place, a time, and a single constraint or direction and suddenly my mind is on fire and my hands itching to create.
From the Studio 