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.
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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?
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