Olafur Eliasson’s Multiple Shadow House opened Thursday, February 11th at Tanya Bonakdar Gallery. Eliasson, who has been described as “an ecstasy-inducing Danish-Icelandic artist,” has perfected the concept of smoke and mirror art that consistently wows its audience and draws crowds (including a Michael Bloomberg and numerous body guards). The packed opening felt a bit like Disney World meets the hands-on section of a science museum; particularly because the exhibition involves the viewer in a collaborative creative process. Opening attendees played obsessively with their color-split shadows on the wall, made shadow puppets with their hands and basically behaved as if this was the first time they had even seen light divided into color spectrums or their own corporeal outline for that matter. This behavior illustrates Eliasson’s emphasis on the visitor’s experience and his tendency to create work in which the potential lies in the exchange between the piece and the viewer.
Courtesy of Tanya Bonakdar Gallery
The first floor of the two-floor exhibit consists of clusters of rooms comprised of a simple wooden framework supporting large projection screens. Each room allows for the viewer to stand in front of projected light, thus causing the light to fracture into colored shadows on the wall. These projections, like much of Eliasson’s work, causes the viewer to re-examine even the most common familiarities, such as light, with renewed appreciation and wonder. Eliasson is particularly interested in how we understand, see, and experience space. Multiple Shadow House does not disappoint on this level. The user negotiates and constructs his or her own surroundings while experiencing subtleties of color, thrill of participation, and magic of science.
The theme of perception of visual imagery and viewer involvement is continued upstairs in Intangible Afterimage Star (2008). Six spotlights project geometrical forms in magenta, blue, yellow, green, magenta, and turquoise onto a wall, layering and intersecting. As explained in the press release, “the intense projections fade in and out, and complimentary afterimages stay on the visitor’s retina and appear to multiply the color compositions. As a result, the film is only partially produced by the spotlight’s projection; the rest is contributed by the viewer.”
Also upstairs is a stunning collection of what appear to be studies in color, sequences, and shape done in watercolor and pencil on paper. Minimal and intimate, these stationary works are a refreshing change from the rest of the exhibition. Configured in sequences, the watercolors use ellipses and circles as narrative exercises on the perception of space and movement. Another piece, Colour Experiment no. 3, is a circular oil painting that at first glance appears to be a basic study in color or a large color wheel. However, the painting is actually an expansion of the traditional model of a color wheel, wherein each of the 360 degrees is painted in one color and corresponds to its complementary afterimage located directly across from itself.
Eliasson has cited the work of close friend Einar Thorstein, a philosopher, scientist, and engineer, as a constant source of his visual vocabulary. He has found inspiration in Thorstein’s spatial ideas such as geodesic domes, fivefold symmetries, spiral spheres, towers and pavilions, the golden ratio, and kaleidoscopes. Eliasson uses these concepts to create works like Multiple Shadow House which exist as experiences more than material objects. Presented via transparent means of constructions, these experiences illustrate the nature of perception-based stimulation as well as the artist’s ability to manipulate the experience.
The exhibition series is designed to bring new creative talent to the Chicago area by artist who rarely exhibit in that region. Curator Ryan Travis Christian works diligently, as he has noted, “to increase the circulation of contemporary artwork”, not only in Chicago, but also as a correspondent for Fecalface.com and through his daily artist selection through Facebook and Beautiful/Decay.com. The young artist and curator has organized recent exhibition including West, Wester, Westest at FFDG, San Francisco, SPORTS at Synchronicity, Los Angeles, and Control C, Control V at EbersMoore Gallery in Chicago.
Marc Horowitz, a self-described “maximalist,” has permeated American culture with his socially-oriented projects and playful enterprises. His work includes video, drawing, cultural experiments, and the dynamic use of networks like twitter and youtube. In 2004, while working as a photo assistant for Crate & Barrel, Horowitz wrote “Dinner w/ Marc 510-872-7326″ on a dry erase board that was included in their fall catalog. He received over 30,000 requests for dinner dates, and began driving around the country to dine with people. The National Dinner Tour garnered attention from numerous press outlets; Horowitz appeared on The Today Show and was named one of People Magazine’s 50 Hottest Bachelors in June 2005.
In 2009, Horowitz embarked on The Marc Horowitz Signature Series, for which he signed his name on a map of the United States and drove that route, stopping at 19 towns along the way. He documented these adventures in short webisodes. In Nampa, Idaho, Horowitz established the first Anonymous Semi-Nudist Colony (complete with complimentary jean shorts and ski masks). In Battle Mountain, Nevada, he pitched an idea to local politicians that involved changing the name of the town to something less pugnacious, suggesting the gentler alternative “Tender Pie Hill.” Other notable projects include Google Maps Road Trip and Talkshow 247.
In December 2009, Horowitz participated in a panel discussion as part of Art Basel Miami Beach’s Video Art Program, “Video Art and Mainstream Distribution,” curated by New York’s Creative Time. Short films from The Marc Horowitz Signature Series were shown prior to the discussion. DailyServing’s Rebekah Drysdale was able to ask him a few questions about his past projects and future pursuits during an interview conducted over Skype in December.
Rebekah Drysdale: At your discussion in Miami, you mentioned you studied painting at the San Francisco Art Institute after leaving the business world. Do you think the tools you are using now, such as YouTube and Google maps, are the new media for this generation of artists?
Marc Horowitz: I think so. Painting and drawing will never die, obviously, but with the advent of the internet and the accessibility of video and broadcasting, I think that there is going to be such an insurgence of artists using these media.
RD: Your work engages the public, but seems very personal as well. What is the most influential encounter you have had in the making of your films?
MH: Omigod, there are so many of them!
RD: Can you pick one or two?
MH: The most memorable project is probably one you have never seen before. It was one I did while at the Art Institute, called Free Ideas. I went down to the corner of Market and Powell streets in San Francisco, where they turn the cable car. There are all kinds of tourists and homeless people there, the Seven Galaxies guy, preaching about the end of the world, religious people, preaching about God, and then there was me. I had two blank white sandwich boards that I made. I was handing out blank sheets of paper saying “free ideas.” People were confused. Most of the business people didn’t want to deal with me. One guy came up to me and said I was doing God’s work, for whatever reason. Several tourists thought that I was always there and wanted to have their pictures taken with me. Homeless people wanted me to write letters to their family members, so we would, and when we were done, they wouldn’t have their address. Kids wanted to have paper airplane throwing contests. I honestly think that project was what got me started in most everything I’m doing now.
RD: How did Free Ideas influence your later works?
MH: It was just taking such a simple idea as a blank sheet of paper and putting yourself out there in the world with that one element and then seeing what happens. I think that notion informed a lot of my projects after that. The Dinner Tour is the simple idea of dinner, at its least common denominator. Driving your signature across the United States is just a signature, something we use everyday. The Google Maps Road Trip was me and my friend wanting to take a simple road trip together, but not having the time or money, so we had to do it virtually.
MH: The Google Maps Road Trip was a fascinating way of seeing America. It was also a really great way to get to know Peter (Baldes). In 2003, he e-mailed me saying I should have a blog. I had no idea who he was and why he was contacting me. Nevertheless, I immediately called him up because he put his phone number in the e-mail. We talked for a bit and he seemed nice enough, so we loosely kept in touch.I didn’t actually meet Peter in person until last year at a friend’s wedding. So all in all, we had only spent about twelve hours together in-real-life before we executed GMRT, and then we shared 40+ hours together “driving” across the country virtually. For me, it was like the Dinner Tour, except I got to know a single person, Peter, much more in depth.
The technical aspects of the project get a little complicated, but basically we left my house in LA and began driving together to Pete’s place in Richmond exclusively on Google Maps. For nine straight days, we “virtually drove” across the country by zooming in all the way on Google Maps and continuously pressing the Google Maps arrow keys eastward. We broadcast the entire experience live on googlemapsroadtrip.com. This meant that folks were able to not only see and hear us as we traveled, but also join us in a real-time chat room. Just think of it as an invitation for someone to hop in the backseat and ride along with us for part of the adventure.
RD: It sounds like your interaction with Peter during the Google Maps Road Trip was similar to what travel buddies may experience on a real cross country road trip. Do you think virtual travel will become more popular?
MH: Google Maps Road Trip is very lo-fi and basic. I would love to see it be implemented in schools. You could have an American fourth grade class travel around Europe, and (time zones permitting) they could travel with European students. They could go back and forth and talk about the things that are local to them. With the accessibility of Flickr photos, YouTube, and Panoramio (Google’s photo program), you can see all kinds of stuff you wouldn’t otherwise see. You can even bring up peoples’ live broadcasts while you are traveling. So, yeah I definitely think it is the start of something.
RD: In terms of your creative process, it seems that projects like The National Dinner Tour or the Marc Horowitz Signature Series would require much more planning than something live like the virtual road trip. Do you prefer to work with a plan or broadcast live?
MH: The Dinner Tour involved a serious amount of logistical planning more than anything else. Getting places on time, setting up dinner dates, etc. And I had no help. It was just a one man army. But that was a not-for-broadcast type of project. It was more experiential. Then I did the Signature Series, which was highly planned. A lot of it was written. We had to have all of the props, the locations secured, etc. It was a different way of working for me, but I really enjoyed it. Through all of the planning, there was still a lot of room for chance because we were doing the project in public, and in that way it felt very improvisational, like my previous works.
After that, I did Talkshow 247, where I broadcast myself live for three months, twenty-four hours a day, seven days a week on talkshow247.com. This project about destroyed me. There was always a live audience chatting away, commenting on my every action. It made me feel like I constantly had to be entertaining an audience that wasn’t even physically there. I really just wanted to live my life, but it became addictive to look at the chat and see what the audience was saying, and then do things to make my life more exciting. I didn’t really like that. So, to answer the question, I would much rather do some more planned out projects in the future, like the Signature Series. That is the direction I want to head with these projects.
RD: What type of work do you show in galleries?
MH: I had some shows in Europe that were mostly drawings and sculptures because it is really hard to sell video art. It’s almost impossible. At some point, you have to make a product if you want to make a living as an artist, which is weird, you know? I did a show in Italy, called More Better. In it, I had made a drawing on how to make a helicopter out of a disassembled brick house and GMC truck. Really futile stuff, like a remote control bearskin rug. I made a suit of armor out of kids’ shin guards that is designed for people with a fear of sharp objects who are on a budget. Also included was The Tragedy Car Series,drawings of cars dedicated to terrible moments in history. For example, The Titanic Car. The drawings are interesting to me because I can really go way far out there, without actually having to execute these proposals. For a show I had at Nuke Gallery in Paris, I did a series called At Least You Don’t Have it This Bad. One of the drawings is a guy with circular saws for hands, and he’s trying to eat chicken McNuggets. That stuff is more fantasy-based. It’s really one big joke, they’re one liners. I like that.
RD: What are you working on now?
MH: I’m about to launch a new project called The Advice of Strangers. I’ve been working on it for about a year, but haven’t told anyone about it yet. Basically folks will be able to vote online on all my life decisions, small to large. Should I comfort the girl across from me who is crying? Do I tell my mom she should work out? Should I eat the noodle that fell on the floor that my roommate jokingly offered me? Should I start looking for a new place to live cause my landlord is an asshole? Do I move in with my girlfriend? Each decision will have a time constraint depending on the magnitude of the choice. And when the poll closes, I’ll post photo and/or video documentation of what happened as a result of the poll so people can see how their vote has effected my life.
The website for the project is www.theadviceofstrangers.com. If you are interested in participating, please check the site for the launch date.
RD: Your work certainly has a refreshingly witty appeal. Is there one last thing you would like DailyServing readers to know about you or your practice?
MH: A big component of my work is myblog, www.ineedtostopsoon.com. I am always posting fresh stuff there. Another thing that I am really into is Twitter. I’m so addicted to it. I’m using it as sort of a diary! You can follow me at www.twitter.com/marchorowitz.
As part of their 75th Anniversary celebration, SFMOMA commissioned British artist Ewan Gibbs to make a series of “urban portraits” of San Francisco based on snapshots the artist took last year. Addressing the delicate, pixellated, hand-rendered portraits, SFMOMA curator Henry Urbach said, “…they hover between photography and drawing, between the documented and the half remembered.” The 18 drawings that comprise Gibbs’ first solo museum exhibition are on view until June 27, 2010. Daily Serving’s Bean Gilsdorf talked with Gibbs before he flew back to England.
Ewan Gibbs: I started making the work that was the origin of this in 1993, when I was twenty. I came across this language based on knitting patterns and I knew then that this was the thing I was going to do.
BG: When you say “language based on knitting patterns”, what do you mean?
EG: Basically, I had been making paintings that were quite derivative of Lichtenstein: acrylic, flat color, black outline. I was very interested in interiors, but I just felt like it was all too derivative. I was almost paralyzed by the possibilities that were out there. And I just stopped doing anything—it’s a weird place to be, but typical of being a student—and then I found a book on knitting patterns where there’s a grid, and different marks determine what color [yarn] you use.
BG: And what was it that drew you to that?
EG: Well, it’s a functional language, but it can also be quite naturalistic. [In the patterns] they use a darker mark to describe darker areas. There was a practicality, it had another purpose other than as just a drawing. I had people make me needlepoints based on my drawings and I made a couple, as well.
Bortolami Gallery in New York City is currently featuring works by London based artist Peter Peri. Peri’s show, which includes drawings, sculptures, and paintings, revolves around three figurative themes: head, seated man, and reclining woman. Although Peri uses these themes in each medium, his execution in each material is startlingly different. The level of obsession and detail in the fine drawings which are created through a congestion of graphite lines on unbleached paper hint at a larger interpretation. Upon further investigation the viewer discovers tiny obscure writing, miniature cartoon-like doodles, and his charming “Odalisque” drawing is a mirror-image rendering of Jean Auguste-Dominique Ingres‘ painting with the same title.
The three sculptures in the show, however, have an element of precariousness about them. Each is an engineered replica in steel of objects Peri originally composed using mundane objects from his home: rolls of masking tape, cassette boxes, chess sets, and calculators. Unlike the drawings, there does not seem to be any secret code or arcane meaning in these sculptures. The basic geometry of each of these objects serves as the most obvious choices for Peri’s figurative assemblages; circles become breasts on a reclining woman, thick rectangles serve as a man’s body topped by a circle for a head.
Peri’s paintings successfully combine both the obsessive mark-making in his drawings with the spontaneity of his sculptures. Described as “skewed mappings of an unknown atmosphere” by the gallery, these gloomy canvases are broken up by razor-sharp line work and tonal highlight. The background is full of haphazard drips and variations of grays, silvers and blacks, while the geometry of the lines call to mind the mathematical rigor of artists like Jack Tworkov and Sol LeWitt.
Inspired by movies, pop culture, fashion, and Bernini, Storm Tharp has been exhibiting his ink and gouache paintings in Portland, Oregon and Geneva, Switzerland for years. His work will be included in the 2010 biennial at the Whitney Museum of American Art in New York City. DailyServing’s Bean Gilsdorf recently spoke with the artist about his inclusion in the Whitney Biennial, the idea of identity as performance, and the role of realism and abstraction in his current portraits.
Storm Tharp, Cream Puff (2008)
Bean Gilsdorf: You just finished the work that’s going into the 2010 Whitney Biennial. How many pieces?
Storm Tharp: Five pieces, all large-scale portraits.
BG: And how did the Whitney process start?
ST: Well, there’s the condensed version, which is about this biennial and my relationship to it. But when Larry Rinder curated the biennial—that would have been about eight years ago—it was the first time that I had ever been exposed to somebody coming to town on behalf of the Whitney. So when you ask how it started, I want to take it all the way back there. I feel like there was some momentum that started then.
BG: And you’re in the collection of the Whitney.
ST: That’s true, but they [2010 Whitney Biennial curators Francesco Bonami and Gary Carrion-Murayari] weren’t aware of that. I assumed they knew. I brought it to their attention and we thought it was really funny.
BG: And did you meet with Larry back then?
ST: Yeah. Little did he know, or did I know, that the work that was so unbelievably half-baked at that time would turn into the nugget of where I am now.
BG: What did you show him then?
ST: It’s funny, I was really embarrassed as soon as he walked out the door. I was just scratching the surface about Japanese theater, where the details in the masks denote the kind of character being played. This is also mirrored in Chinese opera: messy facial makeup helps the audience understand that the character is unstable. I had just scratched the surface of this kind of representation, the physiognomy of the face. And I brought up Noh, and Larry was immediately like, “Oh, you’re interested in the theater”, and I realized that I had no idea what I was talking about. And the work was totally juvenile and half-baked. But that work led to where I am now.
Best of 2009
Bas Louter: Dust/Asphalt
Originally published on March 11, 2009
DUST (ASPHALT), Ambach and Rice, Seattle
Bas Louter recently concluded the exhibition, Dust at Kopeikin gallery in Los Angeles and is currently exhibiting Dust/Asphalt at Ambace and Rice in Seattle. A fitting title for Louter’s ethereally haunting visages–referencing perhaps the black soot of charcoal used to create his works, or the ashes and dust of human remains. Louters works uncannily examines the fleeting and transitory nature of existence, and humankind’s attempts to immortalize ourselves through representation and art. Louter notes, “What interested me most about these portraits was how elapsed eras can crop up in result, like time condensing in a flash of lighting. When this flash is over it seems all detail is lost, like the portrait is somehow haunted or hollow.” Time within these portraits is obfuscated– set within grainy washes of charcoal, in timeless voids devoid of setting or temporal indicators. Of this, Louter notes: “I am attracted to take things out of the past in the now, the actuality. In general I think time can be a non-chronological cycle, things from now can be old and things from the past can be contemporary. It’s my interest to question the way we look at these whole container of images.”
In a recent interview, Louter discusses the nature of his works, his creative process and sources of inspiration with DailyServing.com’s Sasha M. Lee.
Adidas released its 2nd Urban Art Guide, this one for Hamburg. Load it on your smart phone to find art around the city. http://bit.ly/ac5dWSabout 4 days agofrom web
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