Bruce Jackson’s article on the Albright-Knox deaccessioning issue of 2007 was very enlightening. I vaguely remember seeing brief blurbs of the controversy on the local news and, if memory serves, a small segment on 60 Minutes where the image of Artemis and the Stag, specifically, stand out in my mind. I have to admit that at the time the story ran on television I wondered why the gallery would choose to sell off parts of their collection? Of course, being a member of the general public, how was I to know if this practice was right or wrong? All I knew was that the slant of the story seemed to imply the local constituency was not happy about the decision and there was trouble brewing for the gallery. However, after reading Jackson’s piece my eyes and mind were opened to the fact that there was more to the hullabaloo than the media had let on.
It is true, indeed, that at the crux of the storm of accusations and innuendos were Tom Freudenheim, Carl Dennis and their Buffalo Art Keepers entourage. It seems as though a well meaning knee jerk reaction to preserve hometown treasures got the best of all them because, as the article illustrates so well, none of them did their homework. One by one Jackson dismantles each weak allegation with solid fact and sets the record straight by exposing the entire fiasco from its impetus…Freudenheims’s Wall Street Journal article. Blow by blow the saga of misinformed-good-intentions-that-snowballed-out-of-control is told in riveting detail making it blatantly clear that the gallery was simply doing its job and there was no wrong doing on their part. More importantly, however, after clearing the air, Jackson goes on to point out that the entire ordeal did more harm than good to BAK’s supposed beloved gallery. I am all for keeping gems in Buffalo but hoarding for the sake of hoarding is unacceptable, not to mention, tacky. Hopefully the next time BAK, or anyone else for that matter, wants to go on a rant they’ll get their facts straight and not waste everyone's time and money.
Sunday, November 23, 2008
Sunday, November 16, 2008
11/17/08 READING REVIEW 9: JOHN ROCKWELL
I found the Rockwell reading on modern art to be very amusing. His recounting of the fictitious Hitler jail cell filled with Modernist and Surrealist paintings was hysterical. One can only imagine (and perhaps secretly take morbid pleasure in) the agony the great Kaiser would of endured had such a prison really existed. The truth of the matter is, however, sometimes art really is ugly…and looking at ugly, disturbing, even, nonsensical art can be a bit torturous to the unsuspecting viewer who innocently happens upon it.
At the same token, however, there are no official rules that say art has to be beautiful or, for that matter, even make sense in order for it to be. Art just is. What is deemed beautiful by one person may be hideous to another…that’s just the nature of the beast. When speaking of ugly disturbing creations, these too, resonate with someone…somewhere…even if it’s just with its creator. Sometimes within the ugly and nonsensical execution lies a sublime eloquence that only the artist is supposed to understand. Sometimes the viewer is completely removed from the process and this ugly disturbing torturous piece is a gift the artist gives to him or herself. Not as a form of punishment but, rather, a purging of sorts…an exorcism of all the “ugly” demons that would, otherwise, keep the beautiful creations in bondage…which, in the end, turns into a gift for the observer.
So, the next you happen upon piece that makes you want to gouge your eyes out, just remember, that it may be the precursor to a breathtaking masterpiece that may never of seen the light of day had the artist not purged his soul. Look at art with new eyes and learn to appreciate the ugly, the beautiful and everything in between.
At the same token, however, there are no official rules that say art has to be beautiful or, for that matter, even make sense in order for it to be. Art just is. What is deemed beautiful by one person may be hideous to another…that’s just the nature of the beast. When speaking of ugly disturbing creations, these too, resonate with someone…somewhere…even if it’s just with its creator. Sometimes within the ugly and nonsensical execution lies a sublime eloquence that only the artist is supposed to understand. Sometimes the viewer is completely removed from the process and this ugly disturbing torturous piece is a gift the artist gives to him or herself. Not as a form of punishment but, rather, a purging of sorts…an exorcism of all the “ugly” demons that would, otherwise, keep the beautiful creations in bondage…which, in the end, turns into a gift for the observer.
So, the next you happen upon piece that makes you want to gouge your eyes out, just remember, that it may be the precursor to a breathtaking masterpiece that may never of seen the light of day had the artist not purged his soul. Look at art with new eyes and learn to appreciate the ugly, the beautiful and everything in between.
11/17/08 GALLERY REVIEW 9: NINA FREUDENHEIM
Katherine Sehr’s ink on paper drawings are being featured at the Nina Freudenheim Galley. The gallery (with its hardwood floors, high ceilings, track lighting and city view) exudes a simple chic sophistication that kept reminding of New York City for some reason. As many of Serh’s drawings are large scale, I found the cozy space was deceivingly adequate to showcase pieces of such substantial size. The informal elegance of the historic landmark where the gallery is located (Hotel Lenox circa 1898) also added to the appeal of the environment. The pieces seemed to flow from room to room effortlessly which made the traffic pattern pretty straight forward. Overall I thought the stylish clean lines of the gallery had a grace about it that was upscale but not elitist.
The pieces on display also had an air of classy simplicity about them. While I agree that one could read the rhythm of the freehand lines as manic or obsessive, I found the fragile delicate lines illustrated a sense of movement that was simply mesmerizing. Despite the commanding dimensions of some of the selections, the colors (soft and muted) added a beautiful dreamlike quality to the drawings which made them very approachable. The animated rendering of the landscapes could of come off as anxious and disturbing had the color choice been harsh so, I think the artists decision to go with this particular palette was well thought out and very well executed.
By and large, I was quite pleased with the gallery space and the exhibition as both shared a common élan about them.
The pieces on display also had an air of classy simplicity about them. While I agree that one could read the rhythm of the freehand lines as manic or obsessive, I found the fragile delicate lines illustrated a sense of movement that was simply mesmerizing. Despite the commanding dimensions of some of the selections, the colors (soft and muted) added a beautiful dreamlike quality to the drawings which made them very approachable. The animated rendering of the landscapes could of come off as anxious and disturbing had the color choice been harsh so, I think the artists decision to go with this particular palette was well thought out and very well executed.
By and large, I was quite pleased with the gallery space and the exhibition as both shared a common élan about them.
Sunday, November 9, 2008
11/10 GALLERY AND READING REVIEW 8: HALLWALLS
Gallery Review:
My second trip to Hallwalls was to view the work of Jesse Webber and Kara Tanaka. As I approached the entrance to the gallery I realized the mobile walls had been repositioned. No longer was there the U-shaped configuration that once existed for the previous Reyes and Thompson show. The walls for this new exhibition were moved in such a way as to open up the space revealing that is larger than I once believed it to be. Amazingly, with some small adjustments the room suddenly felt airier, taller, brighter and more open. This maneuverability affords the gallery a shape-shifting appeal which, ultimately, results in unlimited display potential. Perfect for showing pieces that are a bit more challenging than the average wall mounted variety. Good call on this one, guys!
Moving on to the artists and the artwork. First up, we have Jesse Webber and his series of homage prints. I found Webber’s take on Le Corbusier’s grain elevator images a hauntingly beautiful tribute to both the artist (Le Corbusier) and the structures themselves. While my draw to his addition of the sunburst gesture was secondary to that of the architecture, I did not find them distracting and think they added an interesting modern air of hope to composition. I especially enjoyed the sculpture as it echoed the image in the first print and thought it’s placement at the front of the space to be ideal.
The second artist featured is Kara Tanaka. Tanaka’s contribution to the show came in the form of a video, a print and a wall sculpture that are all linked by the lovesick human drama of Matsukaze (a tale of pain and desire spurred on by the profound connection of illusion). The video was well done and loved its futuristic, sleek and ingenious presentation.
The story, albeit a little depressing, was articulated beautifully via Tanaka’s use of figure and word imagery. While I was completely lost on the wall sculpture that reminded me of a light fixture, my read on the print (which I found mesmerizing) may be slightly different than Tanaka’s intent. My eyes saw the story of creation and its’ natural progression starting with birth (represented by the figures falling from the top of the scene), life (represented by the figures being catapulted in various postures mid-frame) and death (represented by lifeless figures that lay in crumpled heaps at the bottom of the scene). Of course, this same sentiment could be applied to the life cycle of a relationship…especially, one with romantic connotations and, that just might be what the artist is conveying via the spacesuit figures in this piece.
All in all, I thought the selections and arrangement of the exhibition was great. I especially appreciated the nice segway from Webbers’ work to Tananka’s by way of theme. The play on past, present and future nicely linked the two artists even though their medium and protagonists were completely different. Lastly, the use of color (black and orange), although a coincidence, also served as a unifying factor and seemed to tie things up quite nicely.
___________________________________________
Reading Review:
Art & Gadgetry: the Future of the Museum Visit
I can’t help but feel that this article, although, a few years old, is right on target for today. Marjorie Schwarzer’s study on how museums are slowly assimilating the use of technology into their repertoire is still applicable today. In the past several months I have visited countless number of galleries and noticed that the larger ones have adopted the use of audioguides (handheld devices that take the place of live docents). My initial reaction at the thought of using one of these odd looking wand-like things was resistance. Not because I wanted a human tour guide but, because I feared looking foolish if I did something wrong. What if I don’t know how to use it? What if I break it? What if someone else broke it and they think I did it? But, after taking the leap of faith and using one at both the Albright and the Historical Society I realized…I’m an auditory learner! I need this!
The experience is so much better when the narrative is put into context by someone who has background on the artwork that may not be included in literature. In my experience, so far, the audioguides not only provide an opportunity for adult patrons to peruse select pieces, one on one, making the most of their visit, but, also reinforce the content of take home brochures that may not always capture interesting bits of trivia about the artwork or story linked to the artist. On the flipside, however, I observed at these same venues that the technology was not as valued by my children. When the novelty wore off (which took all of 15 minutes) I suddenly became the designated keeper of the wands. The boys commented the handhelds were heavy and the narratives too long. So, while the advancements work for older audience, it seems as though, the younger demographic is a bit more difficult to please.
Large museums and galleries worldwide will, at some point, have to integrate some form of technology into their touring practices if they’re entertaining the notions of new and interesting ways of audience engagement. After my own personal experience, I can honestly say, I spent more time learning about the nuances of the objects’d art while listening to the handheld than without them. In the end, isn't that what it's all about?
My second trip to Hallwalls was to view the work of Jesse Webber and Kara Tanaka. As I approached the entrance to the gallery I realized the mobile walls had been repositioned. No longer was there the U-shaped configuration that once existed for the previous Reyes and Thompson show. The walls for this new exhibition were moved in such a way as to open up the space revealing that is larger than I once believed it to be. Amazingly, with some small adjustments the room suddenly felt airier, taller, brighter and more open. This maneuverability affords the gallery a shape-shifting appeal which, ultimately, results in unlimited display potential. Perfect for showing pieces that are a bit more challenging than the average wall mounted variety. Good call on this one, guys!
Moving on to the artists and the artwork. First up, we have Jesse Webber and his series of homage prints. I found Webber’s take on Le Corbusier’s grain elevator images a hauntingly beautiful tribute to both the artist (Le Corbusier) and the structures themselves. While my draw to his addition of the sunburst gesture was secondary to that of the architecture, I did not find them distracting and think they added an interesting modern air of hope to composition. I especially enjoyed the sculpture as it echoed the image in the first print and thought it’s placement at the front of the space to be ideal.
The second artist featured is Kara Tanaka. Tanaka’s contribution to the show came in the form of a video, a print and a wall sculpture that are all linked by the lovesick human drama of Matsukaze (a tale of pain and desire spurred on by the profound connection of illusion). The video was well done and loved its futuristic, sleek and ingenious presentation.
The story, albeit a little depressing, was articulated beautifully via Tanaka’s use of figure and word imagery. While I was completely lost on the wall sculpture that reminded me of a light fixture, my read on the print (which I found mesmerizing) may be slightly different than Tanaka’s intent. My eyes saw the story of creation and its’ natural progression starting with birth (represented by the figures falling from the top of the scene), life (represented by the figures being catapulted in various postures mid-frame) and death (represented by lifeless figures that lay in crumpled heaps at the bottom of the scene). Of course, this same sentiment could be applied to the life cycle of a relationship…especially, one with romantic connotations and, that just might be what the artist is conveying via the spacesuit figures in this piece.
All in all, I thought the selections and arrangement of the exhibition was great. I especially appreciated the nice segway from Webbers’ work to Tananka’s by way of theme. The play on past, present and future nicely linked the two artists even though their medium and protagonists were completely different. Lastly, the use of color (black and orange), although a coincidence, also served as a unifying factor and seemed to tie things up quite nicely.
___________________________________________
Reading Review:
Art & Gadgetry: the Future of the Museum Visit
I can’t help but feel that this article, although, a few years old, is right on target for today. Marjorie Schwarzer’s study on how museums are slowly assimilating the use of technology into their repertoire is still applicable today. In the past several months I have visited countless number of galleries and noticed that the larger ones have adopted the use of audioguides (handheld devices that take the place of live docents). My initial reaction at the thought of using one of these odd looking wand-like things was resistance. Not because I wanted a human tour guide but, because I feared looking foolish if I did something wrong. What if I don’t know how to use it? What if I break it? What if someone else broke it and they think I did it? But, after taking the leap of faith and using one at both the Albright and the Historical Society I realized…I’m an auditory learner! I need this!
The experience is so much better when the narrative is put into context by someone who has background on the artwork that may not be included in literature. In my experience, so far, the audioguides not only provide an opportunity for adult patrons to peruse select pieces, one on one, making the most of their visit, but, also reinforce the content of take home brochures that may not always capture interesting bits of trivia about the artwork or story linked to the artist. On the flipside, however, I observed at these same venues that the technology was not as valued by my children. When the novelty wore off (which took all of 15 minutes) I suddenly became the designated keeper of the wands. The boys commented the handhelds were heavy and the narratives too long. So, while the advancements work for older audience, it seems as though, the younger demographic is a bit more difficult to please.
Large museums and galleries worldwide will, at some point, have to integrate some form of technology into their touring practices if they’re entertaining the notions of new and interesting ways of audience engagement. After my own personal experience, I can honestly say, I spent more time learning about the nuances of the objects’d art while listening to the handheld than without them. In the end, isn't that what it's all about?
Sunday, November 2, 2008
11/03 READING REVIEW 7: DAVE HICKEY
Dave Hickey is my hero! Upon first introduction to his work earlier this semester I thought I just admired the man’s literary style but, as we progress further into readings I’m beginning to see the reasons beneath my draw to his writing. I admire the man – period. You see, in order to effectively write about ones place in the world (especially one as fickle as the world of art) the writer must be willing to put it all out there...the good, the bad…everything. This balance of good and evil is crucial for the piece to come off as unbiased and is essential to gain the trust of the reader. In addition to that, the writer must, obviously, possess an in-depth knowledge of the topic their writing about (in this case it would be that of art dealership). To be capable of going against an ostentatious grain, revealing its complex underbelly while exposing personal vulnerabilities and pull it off with finesse is no small feat. It takes talent and it takes guts to “keep it real” in a dimension where “keeping it real” is not an option.
Hickey, however, is different. Sure, he started his journey with the goal of playing the game by the rules of formal education but, eventually realized that the paradox of fucking up in that world could potentially mean that things could be looking up in his. In the wake swallowing this jagged pill of sorts, he essentially deviates from a socially acceptable progression of career development and owns up to it. I consider that a selfless act of courage. After all, how often does the average person admit to turning their backs on esteemed scholarly endeavors to open a Mom and Pop store with their wife…probably not many without the aid of embellishment to soften the blow to their pride?
Even while detailing the inner workings of dealing art he manages to bring the narrative back down to earth because, well, that’s where most of us live. Recognizing that in order to bring art to the people it’s probably best to make it accessible to them and the only way to do that is by tearing down the wall of pretention that has kept it captive for so long. Yeah, Hickey’s my hero…it’s his homespun candor that resonates with me….without it he’d just be another art writer…and we don’t any more of those.
Hickey, however, is different. Sure, he started his journey with the goal of playing the game by the rules of formal education but, eventually realized that the paradox of fucking up in that world could potentially mean that things could be looking up in his. In the wake swallowing this jagged pill of sorts, he essentially deviates from a socially acceptable progression of career development and owns up to it. I consider that a selfless act of courage. After all, how often does the average person admit to turning their backs on esteemed scholarly endeavors to open a Mom and Pop store with their wife…probably not many without the aid of embellishment to soften the blow to their pride?
Even while detailing the inner workings of dealing art he manages to bring the narrative back down to earth because, well, that’s where most of us live. Recognizing that in order to bring art to the people it’s probably best to make it accessible to them and the only way to do that is by tearing down the wall of pretention that has kept it captive for so long. Yeah, Hickey’s my hero…it’s his homespun candor that resonates with me….without it he’d just be another art writer…and we don’t any more of those.
11/03 GALLERY REVIEW 7: AKAG - COLLECTORS GALLERY
This weeks’ assignment is the CollectorsGallery at the Albright-Knox Art Gallery. This tiny interior gallery is discretely tucked away in a quiet corner on the ground level of the much larger Albright. The spaces’ unobtrusive location and utilitarian furnishings lend themselves more to an administrative work space than to a gallery exhibition space which is probably why in past trips I have walked right by it mistaking it for someone’s office. Surprisingly enough, however, it is within this miniscule setting that volunteers oversee the rental and purchase of over 500 works of art that represent artists from the Western New York, New York City, and, Southern Ontario regions. Also impressive is that this operation provides a forum to showcase special exhibitions dedicated to both local and international artists. During my visit one of the two senior volunteers present provided me with a brief overview of the displayed artwork, the featured artist, the CollectorsGallery and the special week-end exhibition being held in Clifton Hall. Her approachable demeanor, zeal and obvious appreciation for the arts exemplified the galleries philosophy that ‘Collecting art is a fun and unique experience and is as varied as the bounds of creativity”.
U.S. and Internationally renowned Slovakian textile artist and scholar Jozef Bajus was the featured artist this weekend. His work centers on innovative ways to use paper as art and have gained him worldwide attention. His artistic paper designs have garnered him a solid group and solo exhibition track record and have provided a spotlight on fiber design that is rarely seen. Bajus expertise in paper art has opened doors to fiber design programs, workshops, as well as, residency programs. Currently he works as both an educator and a program director at the Academy of Fine Art and Design at Buffalo State College.
The featured selections in the CollectorsGallery were all very interesting and ranged from various types of multilayered papers to recycled books. The artists’ knowledge of two dimensional composition and design allowed for the unexpected manipulation of the medium (paper) and I found them all to be quite exquisite.
The installation of the pieces was clean and straightforward as they were simply mounted on all four walls. Lighting adequately served both the volunteers and the art (although, the pizzazz of a little spotlight here and there could cast a beautiful theatrical light on the pieces…but, that’s just my opinion). As for space, each selection was given room to “breath” and there seemed to be just enough room for viewers to walk the perimeter of the space, spend time with the art, and for the volunteers to run the business in the center of the gallery (which surprised me).
Noise pollution seemed to be at a minimum, of course, not many people were talking, so, it was really hard to judge. Given the tight quarters it’s obvious the location of everything from artwork to desks was not random. One thing, however, I think I would have benefitted more from standard labels cards than from the number stickers that were in place but, I suspect some sort of selection process may have taken place shortly before my viewing the pieces, so, they’re forgiven. Aside from the missing labels, I think the selections worked well together and were displayed in a viewer friendly manner.
U.S. and Internationally renowned Slovakian textile artist and scholar Jozef Bajus was the featured artist this weekend. His work centers on innovative ways to use paper as art and have gained him worldwide attention. His artistic paper designs have garnered him a solid group and solo exhibition track record and have provided a spotlight on fiber design that is rarely seen. Bajus expertise in paper art has opened doors to fiber design programs, workshops, as well as, residency programs. Currently he works as both an educator and a program director at the Academy of Fine Art and Design at Buffalo State College.
The featured selections in the CollectorsGallery were all very interesting and ranged from various types of multilayered papers to recycled books. The artists’ knowledge of two dimensional composition and design allowed for the unexpected manipulation of the medium (paper) and I found them all to be quite exquisite. 
The installation of the pieces was clean and straightforward as they were simply mounted on all four walls. Lighting adequately served both the volunteers and the art (although, the pizzazz of a little spotlight here and there could cast a beautiful theatrical light on the pieces…but, that’s just my opinion). As for space, each selection was given room to “breath” and there seemed to be just enough room for viewers to walk the perimeter of the space, spend time with the art, and for the volunteers to run the business in the center of the gallery (which surprised me).
Noise pollution seemed to be at a minimum, of course, not many people were talking, so, it was really hard to judge. Given the tight quarters it’s obvious the location of everything from artwork to desks was not random. One thing, however, I think I would have benefitted more from standard labels cards than from the number stickers that were in place but, I suspect some sort of selection process may have taken place shortly before my viewing the pieces, so, they’re forgiven. Aside from the missing labels, I think the selections worked well together and were displayed in a viewer friendly manner.
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