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| The New York Optimist |
May 21, 2009 Chelsea Art Gallery Opening Stampede
by
Stephan Fowlkes
Where does the fine line between the visual and conceptual realms of art lie? At what point do the visual and aesthetic properties of
a work of art become secondary to the idea driving the work? A bundle of discarded newspapers sitting on the floor of the MoMA
is a good example: in fact, it is not a bundle of discarded newspapers; it is a Robert Gober original. He didn’t simply take said bundle
from the curb and call it art. He actually went through the entire process of printing all the newspapers himself. Another of his
works looks like a plain old toilet plunger, but again, the handle was fabricated and the rubber plunger part is in fact terra cotta.
There is an element of deception in this work, where the initial response is often “Why the hell is a toilet plunger art?” Only upon
gleaning the truth of the process in the fabrication, and the technical mastery involved can appreciation emerge.
This is exactly what I experienced when I entered Yvon Lambert’s exhibit of Michael Brown’s new works. At first glance, I was
like “Oh, here we go again...someone who just gathered a few odds-and-ends from his local dumpster and called it art.” There was
a dust pan and brush, a desk chair, a broom, a paint brush, a couple mops and plastic buckets, all leaning against the wall or just
sitting in the middle of the gallery space: all of them showing signs of use, wear-and tear. These mundane objects reminded me of
the symbolic “hook-on-the-wall-as-art” syndrome that of late permeated many of the galleries the past few years. I was about ready
to dismiss this show as another tongue-in-cheek poke at the absurdity of some of the stretches being made in the name of art.
However, being one to give the benefit of the doubt, I took the time to read the press release, and it was here that I was taken in.
Usually, I am not one who believes one should have to read about a work of art to appreciate it--after all, this is still the realm of
visual arts, right?--but once in a while, what you read truly informs the work, ultimately validating it. Brown’s oeuvre clearly falls
into this category. Sometimes, an artist can be too clever for his/ her own good; this is not the case here. These works of art have
a subtle, near imperceptive twist to them: the element of fabrication, seamlessly integrated into these seemingly innocuous objects.
The thing is, parts of each of these objects are reproduced by Brown, using melted down and cast vinyl LPs. Each object is
constructed out of a singular artist or band’s records, such as The Who (dust pan and brush), Bob Dylan (chair), Marvin Gaye
(paint brush--handle), Johnny Cash (broom--handle), Elvis (bucket), Aretha Franklin (mop--handle), the Ramones (fan--the blades).
“The artist hand-selected records by musicians that he considers to have unequivocally contributed to the history of Rock-and-Roll.
Each cast object consists of records by a single musician or band...” (press release). This process of assisted ready-made or
manipulated appropriation is subtle in its delivery, but the technique and execution is seamless and masterful. Though a dustpan may
not be the most beautiful object to behold, just knowing it contains all the lyrics, musical genius and passion of The Who makes it
truly an object to behold,
An Object is Just Material
Michael Brown at Yvon Lambert
550 W. 21st Street
May 21-July 31, 2009
Though short on time this weekend, and not able to fully go in depth, I do wish to encourage you to go see a few of the other
shows up...
If you like Kandinsky at all, visit Priska Juschka Fine Art. Danielle Tegeder’s work on papar and canvas are seemingly strongly
influenced by K.’s “Concerning the Spiritual in Art” and work well as a logical progression from said work, insofar as Tegeder not
only works with a similar visual language, but in the fact that it also incorporates--and is often if not inspired, directed by sound.
Furhtermore, her sculptures, hanging from the ceiling are wonderful 3-D manipulations of the flat work, bringing to mind molecular
biology and Lee Bontecou’s work.
Arrangements to Ward Off Accidents
Danielle Tegeder at Priska C. Juschka Fine Art
527 W. 27th Street, second floor
May 21-July 3, 2009
And per usual, the B&W Gallery brings forth a beautiful--eclectic--collection of works curated by Dominique Nahas. My favorite is
the assemblage of micro-realist paintings referencing Facebook...see if you can discern which work it is!
Commune
Black & White Gallery
636 W. 28th Street
May 21-June 27, 2009
And for some straight-forward quality painting, head to the Nicholas Robinson Gallery to check out Lars Elling’s “Fictions” where a
myriad of historic movements, techniques, styles, subject-matter, color schemes all come into play in a fashion that draws in the
viewer, not far from Alice’s rabbit-hole. These are wonderfully entertaining and worthwhile works to enjoy, if contemporary
painting is your bag.
Fictions
Lars Elling at Nicholas Robinson Gallery
535 W. 20th Street
May 21-July 3, 2009
by
Stephan Fowlkes
Where does the fine line between the visual and conceptual realms of art lie? At what point do the visual and aesthetic properties of
a work of art become secondary to the idea driving the work? A bundle of discarded newspapers sitting on the floor of the MoMA
is a good example: in fact, it is not a bundle of discarded newspapers; it is a Robert Gober original. He didn’t simply take said bundle
from the curb and call it art. He actually went through the entire process of printing all the newspapers himself. Another of his
works looks like a plain old toilet plunger, but again, the handle was fabricated and the rubber plunger part is in fact terra cotta.
There is an element of deception in this work, where the initial response is often “Why the hell is a toilet plunger art?” Only upon
gleaning the truth of the process in the fabrication, and the technical mastery involved can appreciation emerge.
This is exactly what I experienced when I entered Yvon Lambert’s exhibit of Michael Brown’s new works. At first glance, I was
like “Oh, here we go again...someone who just gathered a few odds-and-ends from his local dumpster and called it art.” There was
a dust pan and brush, a desk chair, a broom, a paint brush, a couple mops and plastic buckets, all leaning against the wall or just
sitting in the middle of the gallery space: all of them showing signs of use, wear-and tear. These mundane objects reminded me of
the symbolic “hook-on-the-wall-as-art” syndrome that of late permeated many of the galleries the past few years. I was about ready
to dismiss this show as another tongue-in-cheek poke at the absurdity of some of the stretches being made in the name of art.
However, being one to give the benefit of the doubt, I took the time to read the press release, and it was here that I was taken in.
Usually, I am not one who believes one should have to read about a work of art to appreciate it--after all, this is still the realm of
visual arts, right?--but once in a while, what you read truly informs the work, ultimately validating it. Brown’s oeuvre clearly falls
into this category. Sometimes, an artist can be too clever for his/ her own good; this is not the case here. These works of art have
a subtle, near imperceptive twist to them: the element of fabrication, seamlessly integrated into these seemingly innocuous objects.
The thing is, parts of each of these objects are reproduced by Brown, using melted down and cast vinyl LPs. Each object is
constructed out of a singular artist or band’s records, such as The Who (dust pan and brush), Bob Dylan (chair), Marvin Gaye
(paint brush--handle), Johnny Cash (broom--handle), Elvis (bucket), Aretha Franklin (mop--handle), the Ramones (fan--the blades).
“The artist hand-selected records by musicians that he considers to have unequivocally contributed to the history of Rock-and-Roll.
Each cast object consists of records by a single musician or band...” (press release). This process of assisted ready-made or
manipulated appropriation is subtle in its delivery, but the technique and execution is seamless and masterful. Though a dustpan may
not be the most beautiful object to behold, just knowing it contains all the lyrics, musical genius and passion of The Who makes it
truly an object to behold,
An Object is Just Material
Michael Brown at Yvon Lambert
550 W. 21st Street
May 21-July 31, 2009
Though short on time this weekend, and not able to fully go in depth, I do wish to encourage you to go see a few of the other
shows up...
If you like Kandinsky at all, visit Priska Juschka Fine Art. Danielle Tegeder’s work on papar and canvas are seemingly strongly
influenced by K.’s “Concerning the Spiritual in Art” and work well as a logical progression from said work, insofar as Tegeder not
only works with a similar visual language, but in the fact that it also incorporates--and is often if not inspired, directed by sound.
Furhtermore, her sculptures, hanging from the ceiling are wonderful 3-D manipulations of the flat work, bringing to mind molecular
biology and Lee Bontecou’s work.
Arrangements to Ward Off Accidents
Danielle Tegeder at Priska C. Juschka Fine Art
527 W. 27th Street, second floor
May 21-July 3, 2009
And per usual, the B&W Gallery brings forth a beautiful--eclectic--collection of works curated by Dominique Nahas. My favorite is
the assemblage of micro-realist paintings referencing Facebook...see if you can discern which work it is!
Commune
Black & White Gallery
636 W. 28th Street
May 21-June 27, 2009
And for some straight-forward quality painting, head to the Nicholas Robinson Gallery to check out Lars Elling’s “Fictions” where a
myriad of historic movements, techniques, styles, subject-matter, color schemes all come into play in a fashion that draws in the
viewer, not far from Alice’s rabbit-hole. These are wonderfully entertaining and worthwhile works to enjoy, if contemporary
painting is your bag.
Fictions
Lars Elling at Nicholas Robinson Gallery
535 W. 20th Street
May 21-July 3, 2009
