Art Installation | Pictura Gallery | Groningen, The Netherlands
The Adequately Theorized Painting Installation in full consists of 225 black panels with phrases painted in white. The space is illuminated by an intense, single tungsten light bulb. In the space, the viewer takes in the bric-a-brac collage of the rectangle-ish signs which, lacking square corners and straight edges, create rhythm through alternating size, slight angles and the contrast of white on black on white. The subjects of the text vary touching on philosophy, art, reflection and social commentary.
The installation plays with the idea of debunked universal meaning through the to-and-fro of contradictory texts, e.g. “This painting demonstrates my reluctance to conform” vs. “This painting demonstrates my inability to resist.” The text visuals, relating to hand-painted for sale signs and other rural visual communication are open and without pretension, encouraging the viewer to question, add to, accept or reject. The cacophony of panels is what Jan van Toorn would call “emancipatory,” encouraging exchange and enabling the viewer as opposed to closing down the option of dialogue.
Philosophically, the work imagines a world outside of closed authoritative metaphysics and posits an idea that a “philosophy” could be created through the expression of diverse, and divergent thought made visible. A grounding principle, as in well-grounded, that perhaps progress comes through dialog and an (eventual) level of agreement.
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Installation | Museum Stadt Oldenburg | Oldenburg, Germany
Matter of Fact is a painting of an American Semi-tractor trailer truck combination, actual size. The painting is on 1,362 cardboard boxes, which when assembled, form a semi-tractor trailer truck combination, actual size, 13’6” x 8′ x 60.’ Depending on the type of exhibition space and visitor demographics, the work can be exhibited as a easy-to-understand, populist culture realist painting or as a networked theoretical, conceptual installation.
Populist Cultural Realism. Get more bang-for-your-buck through this easy-to-understand installation of 1,362 cardboard boxes assembled to exactly match the dimensions of a semi-tractor trailer truck combination. The realist nature of the work and the quantity of paintings gives the museum visitor value for their money. The MOF: Populist Cultural Realism, through size and the sheer quantity of paintings, ensures the technocratic, quantifiable efficacy of the exhibition. This in turn justifies its presence to the executive leadership team and the board of directors.
Conceptual Installation. The conceptual installation consist of 1,362 paintings on flat cardboard boxes stacked flat on 22 wooden pallets. Only the top painting on each pallet is visible. Arranged in the industrial formation that would fit in a 48’ semi-tractor trailer the installation challenges the viewer to identify internal, versus external and the potential for utility. Engaging what O’Doherty/Irleand might call the “uber viewer,” the work satisfies the discriminating gallery need for conceptual exclusivity.
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