Chihuly Exhibition

Nathanial Goodman Contemporary Art Prof. Kira vanLil

Exhibition Paper : Dale Chihuly

Dale Chihuly is a world class, renowned glass artist. Chihuly was born in Tacoma, Washington in 1941. In 1967, he received a degree in interior design from the University of Washington, and went on to study at the University of Wisconsin, and the Rhode Island School of Design (RISD) where he received a Masters of Science in Sculpture, and a Master’s of Fine arts respectively. Following the completion of his Master’s degree from the Rhode Island School of Design, Chihuly went on to build the glass program there.

Chihuly is a very successful glass artist. In 2005 the Seattle Times estimated his earnings at twenty nine million dollars.  He has been invited to numerous exhibitions, become apart of over 200 collections, writes and instructs on the topics of glass and contemporary art,  and still makes work. In 1976 Dale was involved in a serious automobile accident in London, as a result of which he lost his left eye. In 1979 while body surfing he dislocated his right shoulder rendering him unable to handle the tools necessary to blow glass. After this Chihuly stepped back, hired assistants, and started working from a more administrative standpoint, directing the tradesmen making his work. Continue reading

Lecture Review 2: Amelia Jones

Visiting Scholar Lecture Review : Amelia Jones

                Amelia Jones is an Art Historian and critic residing amongst the faculty of McGill University, Montreal, Quebec. Jones is an accomplished member of the Art History community, and works diligently to make progress therein. This can be seen in her robust resume when one reviews its twenty-nine pages in its entirety.  Her experience as a historian is rich with residency, publication in journal and literature, reviews, grants fellowships, participation on panels and in exhibitions.

The focus of her talk was ‘Queer, Feminist, Durrationality’. Jones broke this title down and used each word as a lens to examine art work of interest.  Feminism was more of a visual theory. She spoke to how she treats it as a process of viewing the world and making displays in response to it. She explained that it plays a role in any interpretation. Queer was described as a mechanism in which we may question what we see in the world. It was related to experience of reality, in that everyone’s experience of the universe is different. Queer changes with durrationality. Durrationality takes away an object from judgmental, specialist gaze. This is to say that whatever an object or idea may be, it is examined in a new light be it through the ever changing temporal lens, or reallocation to a new environment. Either way the object experiences a paradigm shift of sorts and perhaps takes on new meanings. Jones is interested in revision, seeing the world differently, theories of identity, and its relationship to art.

The first artist she referenced was VALIE EXPORT, a Venetian feminist artists. She interpreted Action Pants: Genital Panic (Aktionshose:Genitalpanik); a performance where she walks around a cinema with crotch less pants, vagina at face level confronting the audience. The purpose of this was to confront the audience with the passiveness feminine role in film. It also addresses the private role sexuality plays in life. She believed that women were not captured by directors and cinematographers, but rather gave themselves freely. Jones says this toys with female visual theory and the vulnerability of the hole (theory of the hole). What she means by this is associating women purely with the vagina, submission in sexual situations and the work environment, exposed to the public, weakness, etc.

Jones then went on to discuss Holbein’s The Ambassadors of 1533, specifically focusing on the Anamorphic Scull. She argues that it invokes durrationality, forcing the viewer to reassess their position and relationship to the painting. This can also be seen in the work of Mira Schor, specifically in  her Slit of Paint series (1994). The series of painting depicts a vagina with a semicolon contained in its depths. According to Jones the semicolon provides us with an emergence of language in the visceral body in a direct and abstract sense. She defines abstract as shapes at the edge of recognition that do not cease to carry meaning. I feel that the Slit of Paint series is rich in this, and deeply tied to Schor’s writings as well, and can also be tied to pieces like Judy Chicago’s Dinner Party, subtly hinting at the roles women have played historically, perhaps encompased in a quote by Schor: “There is in matter, someting more than, but not something different from, that which is actually given”.

Another artist discusses was Cathy Opie. She is mainly concerned with Identity and how it is shaped by the architecture of the realities around us. We can see how Opie changes through the invocation of durrationality says Jones. We see that Opie’s body heals from her performances like cutting in 1993, and other masochistic art. We also see her tattoo regimes change, as time goes on. This provides us with a sort of Feminist duality through identification, repetition, and substitution – the durational performative subject. This is of course subject to interpretation through the themes provided to us by Jones, ‘Queer Feminist, Durrationality’, and the implications each bring with them.

I think that Jones is brilliant. I enjoyed her lecture, and was exposed to new art, which I think is the purpose of the visiting scholar series. From an outside perspective, the lecture was hard to follow, as I have little expertise in Queer, Feminist art, but I will say this; I feel the concept of ‘Durrationality’ is in escapable, especially in the art world. Pieces are as temporal as the events they display. I will never feel the true passion of a David painting because I am not living in France, in the early 1800’s witnessing the people overthrow the government. I simply have a sense of the power of the work from that time, and what I can gain from it through my contemporary lens. Amelia Jones I feel understands this, and she gives us license to reinterpret art in new context of time and place, and for this I am grateful.

Lecture Review 1: Janine Antoni

Nathanial Goodman

Art History 3539

Professor Kira van Lil

Visiting Artist: Janine Antoni

Janine Antoni is an Bahamian American artist presently living and working in New York City, New York. Antoni was born in 1964, on Freeport Island in the Bahamas. It was there that she spent the first part of her life, until being sent off to boarding school.  In 1986 She received a Bachelor of Arts from Sarah Lawrence College in Bronxville, New York. Three years later in 1989 Antoni graduated from the Rhode Island School of Design with a Masters of Fine Arts and Sculpture Honors. Continue reading

Clyfford Still Paper

Clyfford Still was an American artist born in 1904, in South Dakota. In Still’s seventy-five years, he accomplished much in the name of painting, including stylizing an era, instruction, and personal satisfaction. Still began painting at an early age and exhibited a portrait savvy style that would help support him financially upon his move to the San Fransisco area preceding World War 2. Growing up between South Dakota, Southern Alberta, and Eastern Washington, Clyfford was exposed to dramatic landscapes , lifestyle, and labor that I believe would continually influence his work. Continue reading

Strategies of self-expression: Pollock and Sand Painting -A brief analysis from Abstract Expressionism

“Painting is a state of being…Painting is self-discover. Every good artist paints what he is.” stated Jackson Pollock in 1956. Over the brief course of this class I have grown to appreciate the labors of the Abstract Expressionists, and have grown to enjoy Pollock more and more. Being an ice climber, I instantly developed an affinity for the man from Cody, Wyoming. Continue reading

Nate Goodman’s Intellectual Profile

1. I am a super senior currently running my first victory lap. I am a Studio Arts, Art History, and Ecology/Evolutionary Biology Major(s). My studio arts tend to focus on Ceramics. I am more or less a purist in the materials sense.

2. I was fortunate to see the Richard Serra at the Olympic Sculpture Park  in Seattle, Washington, an adjunct facility to the Seattle Art Museum. I  am a Serra fan and it was truly amazing experience to be in space controlled by his work. The way one must enter the space and is forced to move around the art is truly amazing.

3. My reading has been fairly watered down lately. I made a new years resolution to read a book of leisure every two weeks. I hope I hold to it. The last book I read was by Scott McMillion called the Mark of the Grizzly. The book examines case studies of grizzly attacks. It speaks to the value of nature, how humanity is pushing it out, and how we must work hard to preserve what is left and at the same time put a cap on our ideas of Manifest Destiny.

4. Besides art I enjoy immersion in the out doors. I enjoy Backpacking and camping in secluded areas. The Maroon Bells, and the Lost Coast (long walks on the beach ; ) ) were my two most recent favorites. My passions tend to lie in masochistic activities that promote suffering. Ice climbing, Climbing Cracks and Back Country Snowboarding top this list.

5. ARTH3539-001

6. Obama signing the national defense act impressed me. As if our freedoms are not limited enough, now any American citizen can be held with out means to expedient trial? can one say unconstitutional?

7. I do not read magazines or newspapers…

8. The most intellectually stimulating statement I have heard recently is “All of life shares a common descendent” This was most recently read in “Plant Systematics” by Simpson, however this appears in most Biological texts.

9. I appreciate Historic Asian Art, specifically religious objects of sects of Buddhism, Hinduism, Taoism, etc. I enjoy Yamataka Lord of hell. I like the black stone he was crafted from, and his hollow red eyes. I feel the wrath he can unleash, and to be quite honest, I am a little afraid even though he should help me to thwart demons and break through my ignorance!

Response to Smith (Goodman)

Smith opens chapter thirteen of his book asking the question “What is Contemporary Art?” and promptly provides for us “Contemporary Art is the institutionalized network through which the art of today presents itself to itself and to its interested audiences all over the world”. This allows to frame contemporary art in time and place. What we have is post historic timeless compositions, comparable only to themselves, and unclassifiable. Continue reading