The charming old world building that houses the gallery is located on very inconspicuous side street on the Queens City’s historic west side and, in addition to the art gallery, affords space for art studios, as well as, some private apartments. Parking is free and is a combination of both on and off street, as available.
Although, I thought signage for the gallery was quite adequate, finding the actual entrance to the gallery itself was a little tricky as it’s tucked away in a dark and spooky corner that could really use some curb appeal. Given the natural beauty of the architectural gem I was a bit disappointed at what seemed to be cold, dank state of disrepair patrons must face when they finally do find the main doors that lead to the exhibition. Most of us know that, regardless of the arena, presentation is everything and, I’m sorry to say that I don’t think this gallery is taking full advantage of the eye appeal their edifice has to offer.
David Mitchell, a graduate of NYU, is a multi-talented artist skilled drawing, sculpture, video, photography and installation work. In this exhibit Mitchell showcases his skills by melding these seemingly unrelated mediums and states his inspiration, “In our cars at night, the dotted lines pass through our peripherals like some cryptic code, headlights dance across a blanket of black, and the horizon is emptied of all discern. We drive and we dream. We move at superhuman speeds. We pass through the night in dream machines. The machines are a part of us, a physiological appurtenance, and in them we become recluses.”
I read Mitchell’s inspiration statement before and after viewing the exhibit and it did provide some insight into where he was going with it. I totally agree that we become totally self-absorbed in all sorts of things we shouldn’t while driving. Our automobiles’ not only transport us physically but they also transport all the other parts of our being as well. Our minds are transported someplace else, our ears are transported someplace else, and really scary, our hands and mouths are transported someplace else. It as if the world needs official designated drivers whose job is simply to be completely present while operating a motor vehicle so the rest of us can talk on our cells, drink our latte’s, shave our beards, put on our make-up, do our hair, get dressed, cry, sleep and whatever else we all be guilty of doing while driving at one time or another. So, the inspiration for the exhibit is appropriate for modern day culture but, did the piece convey it?
The exhibit comprised of two cars, two taxidermy deer, three channels of projected video, multiple channels of audio, and MIDI controlled lighting, all operating on a 10 minute synced loop is entitled Red Hearts/ Black Tongues. As I stood in the midst of these elements it became very clear they would form one major interactive exhibit to include the viewer in the artwork. I’m not sure what role I, the viewer, played aside from that of witness but, I can say that the experience was unlike any I’ve encountered.Unlike the Op Art Revisited exhibit at the Albright where the interaction was limited to the visual tricks of kinetic optical illusion, this exhibition included physical interaction. My ears listened to the sounds emanating through the speakers, my body felt the floors pulsate, and my eyes watched the scene unfold both on the projection screen and in front of me. Although, I wasn’t moved by the piece in a way one would typically be, I thought the fact that the exhibit was literally all around me was very cool and put a fun spin on art which isn’t easy. It was unique, a bit scary, and made its’ point about losing ourselves in these “dream machines”.
