Continuously surrounded by art, I write about my experiences and their influences on my artistic practices. I am a starving artist that spends every minute I can being exposed to as many types of art as possible.

Posts tagged “Video

Lucian Freud

Lucian FruedThere is a huge Lucian Freud exhibit at the Modern Art Museum of Fort Worth.  Over ninety pieces are included in this exhibit.  It is also the only US stop for this show that was put together by the National Portrait Gallery London.  A large number of these pieces were painted in his studio, portraying life – the studio as the background with many subjects vulnerable, yet comfortable, posing nude, seeming to just be hanging out.  There are so many things to take in when looking at his work, composed largely of portraits and nudes.  The scale is immense, making these figures larger than life.  Painting his subjects as they “posed” for him, full of emotion and intensity. The permanent collection at the Modern is always fantastic to wander through.  There is a wonderful selection of Modern and Contemporary art, including Joseph Cornell, Richard Hamilton, Robert Rauschenberg, Robert Motherwell, and some huge pieces by Anselm Kiefer.  The Greeting, 1995, by video artist Bill Viola is a provocative piece to watch.  The video is of two women talking, when a third woman walks up and joins the conversation.  While this is an ordinary occurrence, Viola captures human emotion as he plays the interaction in slow motion.  This changes the entire way this encounter is viewed.  SFMOMA has a great video of Viola discussing this piece, and how the composition of the figures are based on an image of The Visitation.  This makes me think of Andy Warhol’s Screen Tests.  He would film people for the length of the film, a couple of minutes, but would slow it down and extend it to four minutes.  Warhol felt a person either had a presence or they didn’t.  Warhol was also interested in capturing real life and human emotions, as in his early art films Sleep, Eat, and Blow.  I was fortunate enough to see several of the screen tests played at the McNay, when they exhibited Andy Warhol: Fame and Misfortune. The Greeting, Bill Viola Another highlight in the collection is the Minimal art.  This particular type of art is clean and simplistic.  It is interesting that next month I will be heading to Marfa, Texas for my annual pilgrimage to Chinati, and here in Fort Worth many of the artists I will see there are on display, such as Donald Judd, Dan Flavin, and Carl Andre.  This large piece by Judd is from the floor to the ceiling.  Even in this image, you can begin to see how the translucent plastic or glass material bathes the work in a soft haze of orange, extending from the piece to the surrounding environment. Donald Judd

 However, I do prefer to view these artists in the setting that Chinati presents.  One or two pieces from an artist doesn’t seem like enough.  Even though that is primarily how art is viewed.  Well, that’s not entirely true, maybe just regarding permanent collections.  I make a huge effort to see an artist’s solo exhibitions.  It is important for me to see a large body of work from the artist or experience several series, such as in a major exhibition or retrospective.   Since viewing the huge installations that are presented in Marfa, I think I am spoiled.  Maybe Judd was onto something.  I think I do prefer his isolated, large permanent exhibits of an artist’s  work.  In that context, I can get an idea of what they are trying to convey through their work.  If you are drawn to a particular artist, it is also logical to want to see more.  Installations on such a large scale are also an experience in itself.  That cannot be expressed in one or two pieces.

Minimalist Art

Richard Serra also has a small piece, however, his amazing work here is a massive outdoor sculpture.  Rusting metal overtakes several stories, towering over you.  As with many of Serra’s outdoor sculptures, Richard SerraI was able to walk around and inside.  With an opening at the top, the light shined in.  The size, material, and tall shape also made the piece bounce echoes of any noise or yelling from inside.  That was an interesting experience.  I have always found it interesting that Serra is one if the few artists that has had his work rejected by the public.  Having to walk around the large structure in a plaza proved too much for some New Yorkers to appreciate, and Tiled Arc was dismantled, apparently still sitting in a warehouse.  Another public work by Serra that has caused some controversy is the outdoor piece, Shift, located in Canada.  Although the issues surrounding that piece have to do with land rights being sold, with the new owners trying to remove the work. Richard SerraThe highlight, however, may be the actual building itself.  Built fairly recently in 2002, it was designed by Japanese architect, Tadao Ando.  This modern building is a brilliant extension of the art collection within.  The forty foot glass windows allow an incredible natural light to enter, while outside it reflects the serene pond, outdoor sculptures, and an amazing view of downtown Fort Worth.  With plenty of space to walk around,  it is easy to enjoy the view.  The unique design places the building within the 1.5 acre pond, the water coming right up to the large glass panes, creating the illusion that the building is effortlessly floating. The Modern, Fort Worth

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Erotica On My Mind…

This past week was consumed with Seven Minutes in Heaven, particularly, the erotic coloring book.  It has been hectic and stressful, but it is finally coming together in a reasonable amount of time.  I am only waiting for three drawings out of twelve.  The original due date was December, but they didn’t start trickling in until January, putting off printing and assembly much later than I had anticipated.  I am in contact with the two artists….and the third is mine.  It has not been easy managing so many artists and their promises of tomorrow, then tomorrow for sure, then just one more day!  But it is highly amusing to me, as an artist myself, I am unfortunately always one day late myself!  So as a gallerist, I know never to give the ACTUAL final date – otherwise I’d never get anything in on time.  However, I know I am asking a lot of thirteen artists to get together two separate projects for the busiest art month of the year.  Many of the artists are involved in other shows, so I am extremely appreciative for everyone’s support.  There is no way this would be possible without them.  My idea came to fruition with the original support of my co-curator, Linda Arredondo.  We discussed the invitational artist list and more importantly, she came up the brilliant name, Seven Minutes in Heaven.  We are each financially backing the show 50%, which as of now entails the cost of the entire eight room Fox Motel for two nights, the cost of printing the postcards and coloring books, the reception, and the minimal CAM advertising fee.  Hopefully, we can recover this amount with the sale of the coloring books.

I also had my first interview for the show.  A close friend of mine, John Huntington, was approached by Ignite Magazine, a local publication, to submit an article for Contemporary Art Month.  He proposed writing about Seven Minutes and the editor was very excited.  My ideas, what makes this group show different and why I chose to do an erotic art show were all topics of discussion.  It was nice to have this interview with a friend, making it an easy experience where I can get comfortable talking about the show with other people.  You can never underestimate what will be put in print.  I have been told horror stories from other artists about a casual mention of something during the interview and next thing they knew, that was the entire article.  Hopefully, if all goes well, this will be the first of many interviews for Seven Minutes.

Luckily, Jung Mun, an artist in the show, is volunteering graphic design, I did the photography myself, and two friends volunteer to handle the music for the four hour reception.  There are so many aspects to putting on a group show.  There is no way I would be able to handle everything going on without the help of my co-curator, friends, and supporters.  I believe I will now see other exhibitions in an entirely new light!

The last two weeks I have been glued to my laptop or phone!  Everyday is filled with constant contact with the artists or writers.  I am managing 12 other artists and myself for three projects: their art piece, the donated drawing for the coloring book, and now getting a photo & bio for the catalog.  Linda has been pushing to do a catalog.  It is in our best interest as it will give us a publishing credit, be a great documentation of the show and a great experience to publish our own material.  Hopefully that will come in handy when I have a gallery space of my own.  Linda and I have both agreed to write essays on the topic of eroticism.  We have also invited two other writers to contribute, Jason Gil, my husband, and John Huntington.  This particular project I am not sure I can pull off in time for the show.   A main concern for me is getting the images.  There is a performance, a sound installation and a room installation piece.  How do you photograph those before the show?  At that point it turns into a representation of the piece, while acceptable, is that what I want to have show in a catalog?  This may be a project I may not be able to complete by the show, I’ve been working non-stop for a little while now…