Transcript
Page 1: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

IDEALLY, AN ANNUAL open call exhibition gives us a summa-ry of trends happening in the art world, and it can provide insight LQWR� FXUUHQW� HYHQWV� DV� ¿OWHUHG� WKURXJK� WKH� H\HV� RI� DUWLVWV��7KLV�past year has provided plenty of material: Alton Sterling and the cops killed in Baton Rouge, the Confederate Monuments being voted for removal, the massacre at Pulse nightclub in Orlando, WKH�DSSURDFKLQJ�HQG�RI�2EDPD¶V�SUHVLGHQF\��+LOODU\�YV��%HUQLH��WKH� ULVH� RI�7UXPS��7KH� ³/RXLVLDQD�&RQWHPSRUDU\�����´� DW� WKH�2JGHQ�0XVHXP�RI�6RXWKHUQ�$UW��RSHQ�WR�DUWLVWV�RYHU����\HDUV�ROG�ZKR�DUH�OLYLQJ�LQ�/RXLVLDQD��SXUVXHV�ERWK�DYHQXHV��,Q�RQH�H[DP-ple of political subject matter, James Billeaudeau’s Salute (Fear of Fascist America)��������UHVRQDWHV�EHFDXVH�RI�7UXPS�DQG�WKH�debate surrounding him, despite the fact that he is not depicted in WKH�SLHFH��$V�IRU�WUHQGV�LQ�WKH�DUW�ZRUOG��WKH�³/RXLVLDQD�&RQWHP-SRUDU\´�IHDWXUHV�VXFK�D�ZLGH�YDULHW\�RI�ZRUN� WKDW� LW�FRXOG�JLYH�

WKH� YLHZHU� YLVXDO�ZKLSODVK��:DONLQJ� DURXQG� WKH� JDOOHULHV�� RQH�might identify established painting movements (Op art, Hard-HGJH� SDLQWLQJ�� 3RS� 6XUUHDOLVP�� DQG� ([SUHVVLRQLVP�� DV�ZHOO� DV�conceptual-based projects in untraditional media, video, photog-UDSK\��DQG�VFXOSWXUH��7KH�YDULHW\�LV�VXUHO\�D�VLJQ�RI�VWUHQJWK�LQ�the art community, but it makes for a schizophrenic installation, HVSHFLDOO\�LQ�WKH�PDLQ�JDOOHU\��� 2QH�JHQUH�VWDQGV�RXW�IURP�WKLV�FKDRV��WKH�SRUWUDLW��7KH\�FRPH�LQ�D�ZLGH�YDULHW\�RI�VW\OHV�KHUH��6XVDQ�,UHODQG¶V�Jena and Annie �������LV�D�ULRW�RI�SDWWHUQ�LQ�D�3RS�DUW�WZLVW�RQ�WKH�1DELV�SDLQWHU�9XLOODUG��7UR\�'XJDV¶V�)UDQFHVFR��������JLYHV�XV�D�IURQ-tal close-up of a face constructed out of collaged labels, and Aron Belka’s Self Portrait��������XVHV�RLO�RQ�FDQYDV�LQ�DQ�H[SUHVVLRQ-ist tradition, its effect coming from tonal contrast and expressive EUXVKZRUN��3HWHU�+RUMXV¶V�SRUWUDLWV�DUH�TXLOWHG�GHSLFWLRQV�RI�PDOH�subjects, such as David, A Series of Men #1���������DZDUGHG�WKLUG�SODFH���7KH�PDWHULDO�LV�XVHG�PHQ¶V�VKLUWV��DQG�+RUMXV�DGDSWV�WKH�IHPLQLVW�DVVRFLDWLRQV�RI�TXLOWLQJ�WR�WKH�VWHHO\�EOXH�H\HG�VWDUH�RI�D�EHDUGHG�\RXQJ�PDQ�ZLWK�ZDYLQJ�KDLU��,QVWDOOHG�DW�WKH�HQWUDQFH�to the exhibition, these portraits serve as an introduction to the

“LOUISIANA CONTEMPORARY 2016” Ogden Museum of Southern Art

New Orleans, LA___

Louisiana Art 2016BY REBECCA LEE REYNOLDS

Peter Horjus: David, A Series of Men #1, ������8VHG�PHQ¶V�VKLUWV�

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show’s overriding theme of identity, whether pursued in person-DO� VW\OHV� RU� LQ� UHODWLRQ� WR� LVVXHV� RI� JHQGHU�� VH[XDOLW\�� DQG� UDFH��7KH�LQVWDOODWLRQ�RI�WKH�VKRZ�ZRUNV�D�OLWWOH�WRR�REYLRXVO\�WR�VWDJH�these thematic trends by grouping artworks dedicated to race in the small gallery near the elevator, and works related to gender LGHQWLW\�LQ�WKH�KDOOZD\�RXWVLGH�WKH�PDLQ�JDOOHU\� Inside the small gallery by the elevators, I was drawn to Amazing Grace (ft. Barack Obama)���������D�YLGHR�ZRUN�FXUDW-HG�DQG�GLUHFWHG�E\�0DUJRW�+HUVWHU�IRU�WKH�FROOHFWLYH�³%XUHDX�RI�&KDQJH�´�D�NLQG�RI�WKLQN�WDQN�GHGLFDWHG�WR�XVLQJ�DUW�WR�FUHDWH�LQ-VWLWXWLRQDO�FKDQJH��7KH�YLGHR�IHDWXUHV�DQ�$IULFDQ�$PHULFDQ�PDQ�wearing a Statue of Liberty costume—the character, played by -DVRQ�%U\H��LV�D�ZDONLQJ�DGYHUWLVHPHQW�IRU�/LEHUW\�7D[�6HUYLFH��7KH�SDOH�JUHHQ�UREH�LV�VLPSO\�WKURZQ�RYHU�KLV�MHDQV�DQG�VQHDNHUV�when we meet him on a random New Orleans street, walking towards the camera and presumably to his job, holding the tax SODFDUGV�ORRVHO\�LQ�KLV�KDQG��:H�ZDWFK�WKLV�EODFN�6WDWXH�RI�/LEHU-W\�GRLQJ�KLV�ZRUN�RQ�6W��&ODXGH�$YHQXH�DW�WKH�EDVH�RI�WKH�EULGJH�WR�WKH�/RZHU�1LQWK�:DUG��DQG�WKHQ�ZH�IROORZ�KLP�DV�KH�ZDONV�past the Jefferson Davis monument—a subtitle refers to the City Council’s vote to remove Confederate monuments from the city, OLVWLQJ�WKLV�RQH�DV�³VFKHGXOHG�IRU�UHPRYDO��GDWH�7%'�´�

� 7KH�ZDONLQJ�WRXU�LV�LQWHUVSHUVHG�ZLWK�IRRWDJH�RI�RWKHU�Confederate monuments in town and protests, beginning with a -DQ�������SURWHVW�DW�/HH�&LUFOH�DQG�HQGLQJ�ZLWK�D�-XO\������%ODFN�Lives Matter protest at Lee Circle after the Alton Sterling video ZDV�UHOHDVHG��,Q�EHWZHHQ�ZH�VHH�LPDJHV�VRXUFHG�IURP�SXEOLF�UH-FRUGV��D�VWLOO�SKRWR�RI�:DWHU�6FRWW�LQ�1RUWK�&KDUOHVWRQ��YLGHR�RI�7DPLU�5LFH��D�KLVWRULFDO�SKRWRJUDSK�RI�WKH�(PDQXHO�$0(�FKXUFK�in Charleston, cropped photographs of the eyes of each victim of WKH�(PDQXHO�$0(�PDVVDFUH��7KH�JUDLQLQHVV�DQG�SRRU�TXDOLW\�RI�these last photographs is distracting, but it refers to their source in public records and the collective’s commitment to using public VRXUFHV�WR�H[SRVH�SUREOHPV��7KH�LQWHQWLRQDO�VWUDWHJ\�LQFOXGHV�WKH�WLWOH¶V� UHIHUHQFH� WR�3UHVLGHQW�2EDPD�VLQJLQJ�³$PD]LQJ�*UDFH´�GXULQJ�WKH�HXORJ\�IRU�5HY��&OHPHQWD�3LQFNQH\��RQH�RI�WKH�YLFWLPV�RI� WKH�(PDQXHO�$0(�VKRRWLQJV� LQ�&KDUOHVWRQ��$QRWKHU�SHUIRU-mance of the song serves as a soundtrack to Brye’s walk through WKLV�ODQGVFDSH�RI�UDFLDO�YLROHQFH� As the video concludes, the screen goes black and tran-VLWLRQV�WR�%U\H�SRVHG�DJDLQVW�D�ZKLWH�EDFNJURXQG��+ROGLQJ�WKH�plastic torch out in front of him like the actual Statue of Lib-erty, he slowly turns, as if shedding the light of liberty on his DXGLHQFH�� 7KHUH¶V� D� VDG� LURQ\� WR� %U\H¶V� FKDUDFWHU�� SHUIRUPLQJ�

James Billeaudeau: Salute (Fear of Fascist America), ������'LJLWDO�SLJPHQW�SULQW�

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0DUJRW�+HUVWHU��%XUHDX�RI�&KDQJH����Amazing Grace (Ft. Barack Obama),�������9LGHR�LQVWDOODWLRQ�

the icon of liberty while we watch protests against the reality RI�D�ODFN�RI�HTXDOLW\��7KH�KRSHIXOQHVV�RI�WKH�VWDWXH�IDOOV�DSDUW�LQ�face of this fake version, played as an advertisement, devoid of DFWXDO�OLEHUW\�RU�HTXDOLW\��$QG�%U\H¶V�H\HV�VHHP�YDFDQW�DV�ZHOO��KLV�ERG\�JRLQJ�WKURXJK�WKH�PRWLRQV��7KHUH¶V�DQ�HPSWLQHVV�WR�WKH�statues too, often ignored until protests this past year reinvested WKHP�ZLWK�QHZ�HPRWLRQ��7KH�DXGLR�FRXQWHUV�DOO�RI�WKLV�FROGQHVV��7KH�UDS�QDUUDWLRQ�E\�.�*��¿OOV� LQ� WKH�EODQNV�E\�H[SUHVVLQJ� WKH�ODFN�RI�HTXDOLW\��ZKLOH�D�EHDXWLIXO�UHQGLWLRQ�RI�³$PD]LQJ�*UDFH´��FUHGLWHG�WR�.�*�¶V�PRP��FRXQWHUV�WKDW�DQJHU�DQG�IUXVWUDWLRQ�ZLWK�D�SURPLVH�RI�UHGHPSWLRQ�� 2Q�¿UVW�YLHZLQJ��WKH�LPSDFW�ZDVQ¶W�DV�VWURQJ�DV�D�VHF-RQG�YLHZLQJ��7KH�YLGHR�ZRXOG�EH�PRUH�HIIHFWLYH�LQ�LWV�RZQ�VSDFH��where the audio could be much louder and where it would not KDYH�WR�FRPSHWH�ZLWK�DUWZRUNV�RQ�WKH�IDFLQJ�ZDOO�� ,QVWHDG�� WKH�viewer is forced to recognize connections between the video and 'DQ�7DJXH¶V�Old Glory Holes �������DQG�%HQMDPLQ�'LOOHU¶V�The Great Shield ��������D�FDUYHG�ZRRGHQ�YHUVLRQ�RI�WKH�*UHDW�6HDO�RI�WKH�8QLWHG�6WDWHV��DV�ZHOO�DV�RWKHU�ZRUNV�LQ�WKH�VDPH�VSDFH��Overcrowded installations have been an ongoing problem with WKH� ³/RXLVLDQD� &RQWHPSRUDU\´� VHULHV�� HVSHFLDOO\� LQ� WKLV� VPDOO�JDOOHU\��2QH�ZLVKHV�WKDW�WKH�PXVHXP�ZRXOG�HLWKHU�JLYH�WKH�H[KL-ELWLRQ�PRUH�VSDFH�RU�HGLW�WKH�VHOHFWLRQ�PRUH�WR�¿W�WKH�VSDFH�WKDW�LV�DYDLODEOH��� 2QH�RI�WKH�FRQVHTXHQFHV�RI�WKH�RYHUFURZGLQJ�LV�WKDW�WKH�WKHPH�RI�UDFH�LV�VR�EURDGO\�XVHG�WKDW�LW�VWDUWV�WR�IDOO�DSDUW��&KULV�Lawson’s Manifestation of a Coconut��������VHHPV�WR�KDYH�EHHQ�placed here because it uses a Zulu coconut, even though its glit-ter-covered forms betray a whimsical sensibility at odds with the UHVW�RI� WKH� URRP��0RUH�DSSURSULDWH� LV� WKH�FRQFHSWXDO�KXPRU�RI�Ernest Joshua Littles’s fake promos, but they are practically hid-GHQ�RQ�D�FRUQHU�ZDOO��Tracks Promo��������LPDJLQHV�DQ�DSS�WKDW�tracks the user’s movements in case police stop the user because, DV� WKH� DG� VXJJHVWV�� \RX� ³¿W� WKH� GHVFULSWLRQ�´�7KH�Green Book Promo 2� ������� LV� DQ� DOWHUQDWLYH� WR� WKH� ³%OXH�*XLGHV�´� WUDYHO�JXLGHV�DVVRFLDWHG�ZLWK�H[SHQVLYH�WDVWHV�DQG�SDWULFLDQ�FXOWXUH��,Q�

contrast, the Green Book�RIIHUV�³SURWHFWLRQ�IRU�WKH�$IULFDQ�$PHU-LFDQ�WUDYHOHU�´�%RWK�SLHFHV�XVH�VDWLUH�WR�TXHVWLRQ�UHFHQW�FDVHV�RI�SROLFH� EUXWDOLW\�� 7L�5RFN� 0RRUH� LV� DQ� REYLRXV� FKRLFH� IRU� WKH�JDOOHU\��DV�KHU�ZRUN�KDV�FRQVLVWHQWO\�SOD\HG�ZLWK�WH[W�DQG�UDFH��Cracka House��������EXLOGV�DQ�DOWDUSLHFH�RXW�RI�6DOWLQH�ER[HV��,W�KDV�D�:DUKROLDQ�WRXFK��HYRNLQJ�KLV�%ULOOR�ER[HV��EXW�WKH�ER[HV�are intended here to evoke the visually absent associations of the WHUP�µFUDFNHU¶�WR�ZKLWHQHVV�DQG�ORZHU�FODVV�� 7ZR� ZRUNV� UHÀHFWLQJ� RQ� IHPDOH� LGHQWLW\� DUH� DOVR� LQ-VWDOOHG�LQ�WKLV�JDOOHU\��.HOOL�6FRWW�.HOOH\¶V�Fighting Back�������offers a mysterious dream-like scene of an army of nude female ¿JXUHV�OLQNHG�E\�EOXH�OLQHV�WR�D�EOXH�FORXG�ÀRDWLQJ�DERYH��7KH�crocheted border suggests that the substrate was a doily or a table-FORWK��DQRWKHU�QRG�WR�����V�IHPLQLVW�DSSUHFLDWLRQ�RI�WHFKQLTXHV�WUDGLWLRQDOO\�SUDFWLFHG�E\�ZRPHQ��$QRQ\PRXV�EURZQ�¿JXUHV�VXU-round the women with pointed guns, and the title suggests that WKHVH�ZRPHQ�DUH�UHDG\�WR�EDQG�WRJHWKHU�DQG�¿JKW�EDFN��7KH�GH-piction of being targeted manages to capture the feeling of being targeted in today’s world, resonating with the battle surrounding RXU�¿UVW�IHPDOH�SUHVLGHQWLDO�FDQGLGDWH�RU�WKH�RQJRLQJ�EDWWOH�IRU�HTXDO�SD\�DQG� UHSURGXFWLYH� ULJKWV��.HOOH\�XVHV�D�6XUUHDOLVW� DS-proach to express the frustration and indignation that women feel DERXW�FRQWLQXHG�DWWHPSWV�E\�PHQ�WR�FRQWURO�WKHLU�ERGLHV��� -HQQD�.QREODFK¶V�Title IX��������WDFNOHV�WKH�VDPH�WKHPH�IURP�D�YHU\�GLIIHUHQW�DUWLVWLF�SRLQW�RI�YLHZ��2Q�YLHZ�DUH�GLJLWDO�c-prints and a letterpress print from a performance in which the DUWLVW�WRRN�D�JURXS�RI�VHYHQ�IHPDOH�IULHQGV�WR�D�VKRRWLQJ�UDQJH��7KH�LPDJHV�DUH�GLVSOD\HG�LQ�D�JULG�RI���SKRWRJUDSKV�DFURVV�DQG���GRZQ��DQG�WKH\�DUH�XQL¿HG�E\�D�FRORU�SDOHWWH�WKDW�LQYROYHG�RXW-¿WWLQJ�KHU�SDUWLFLSDQWV�LQ�EULJKW�RUDQJH�FORWKLQJ��QDLO�SROLVK��DQG�HDU�SURWHFWLRQ��7KH�RUDQJH�FRORU� V\PEROL]HV�JXQ�YLROHQFH�� DQG�ZDV�XVHG�LQ�WKH�³:HDU�2UDQJH´�FDPSDLJQ�IRU�1DWLRQDO�*XQ�9L-ROHQFH�$ZDUHQHVV�'D\��7KH�FRORU�SRSV�DJDLQVW�WKH�EULJKW�JUHHQ�landscape background as the women aim at the letterpress print, ZKLFK�GLVSOD\V�WKH�ZRUG�³27+(5´�LQ�D�FLUFOH��7KH�SHUIRUPDQFH�HQDFWV�LGHDV�IURP�FULWLFDO�WKHRU\�DERXW�DWWDFNLQJ�WKH�³RWKHU´�VLP-

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-HQQD�.QREODFK��Title IX, ������'LJLWDO�&�SULQW�

SO\�EHFDXVH�WKH\�DUH�³RWKHU�´�D�GHIHQVLYH�PRYH�XVHG�WR�VKRUH�XS�RQH¶V�RZQ�VHOI�LGHQWLW\��7KH�WKHRU\�FDQ�EH�XVHG�WR�H[SODLQ�GRPHV-tic violence, and the choice of the shooting range location and a IHPDOH� FDVW� DVVRFLDWHV� WKHVH�ZHDSRQV�ZLWK� VHOI�SURWHFWLRQ��%XW�these women are turning the tables, perhaps hoping to obliterate WKH�GDPDJLQJ�FRQVHTXHQFHV�RI�RWKHULQJ��7DNLQJ�EDFN�SRZHU��WKH\�VXEYHUW�WKH�XVXDO�DVVRFLDWLRQV�EHWZHHQ�JXQV�DQG�PHQ��7KH�WLWOH��Title IX�� UHIHUV� WR� WKH� ����� HGXFDWLRQ� DPHQGPHQW� WKDW� SURKLE-its discrimination based on sex in federally funded educational SURJUDPV��%HVW�NQRZQ�WRGD\�IRU�SURYLGLQJ�IHPDOH�VWXGHQWV�ZLWK�more access to college sports, the policy is used here to suggest EURDGHU�DSSURDFKHV�WR�HTXDOLW\��,Q�IDFW��.QREODFK�FKRVH�$XJXVW����IRU�WKH�SHUIRUPDQFH�EHFDXVH�LW�LV�1DWLRQDO�:RPHQ¶V�(TXDOLW\�'D\� It’s been one full year since the Supreme Court legalized JD\�PDUULDJH��DQRWKHU�ODQGPDUN�FDVH�LQ�HTXDOLW\��DQG�QRZ�PRUH�DWWHQWLRQ�LV�EHLQJ�SDLG�WR�WUDQVJHQGHU�LGHQWL¿FDWLRQ��(YHQ�6XVDQ�Bowers’s ceramic urinal sculpture, Sweet Mouth of Carcharodon Carcharias �������� REYLRXVO\� UHIHUULQJ� WR� 'XFKDPS¶V� Foun-tain, reads differently in light of the recent North Carolina case RI� WUDQVJHQGHU� EDWKURRP� ULJKWV�� 2WKHU� DUWZRUNV� WKDW� WDNH� RQ�/*%74�LVVXHV��RU�VLPSO\�GHSLFW�QDNHG�PHQ��DUH�JDWKHUHG�WRJHWK-

HU�LQ�WKH�KDOOZD\�RXWVLGH�WKH�PDLQ�JDOOHU\��$UWKXU�6HYHULR¶V�WZR�photographs of male nudes romanticize the form, including one in which the blurred movement of the model’s arms resembles wings, turning him into an angel (Angel�� ������� %ULDQ� %DUEL-HUL¶V�XQWLWOHG�QXGH�UHFDOOV� WKH� ODWH���WK�FHQWXU\�SKRWRJUDSKV�RI�7KRPDV�(DNLQV��7ZR�RI�5RQQD�+DUULV¶V� SHQLV� SRUWUDLWV��ZKLFK�KDYH�EHHQ�VKRZQ�EHIRUH�DW�7XODQH�8QLYHUVLW\��DUH�RQ�GLVSOD\��DQG�Anonymous Male #3� ������� ZDV� DZDUGHG� ¿UVW� SODFH�� +DUULV¶V�choice to focus on the sexual organs seems an explicit retort to WKH�VH[XDO�REMHFWL¿FDWLRQ�RI�ZRPHQ��5DWKHU�WKDQ�PDNH�KHU�PDOH�subjects enticing, Harris’s detailed depiction of body hair reach-HV�D�OHYHO�WKDW�LV�GLVWXUELQJ�DQG�VTXHDPLVK�� Paul Rizzo’s mixed media works revel in chalky pastels WKDW�UHFDOO�FKLOGUHQ¶V�FORWKLQJ�RU�5RFRFR�SDLQWLQJV��7KH�UDLQERZ�in Surface Rainbow �������UHDGV�DV�WKH�V\PERO�RI�JD\�SULGH�LQ�this context, and Just Men �������UHPDNHV�D�FRYHU�RI�³-XVW�0HQ´�magazine, featuring a shirtless hunk in jeans and an explicit view RI�JD\�VH[�LQ�WKH�XSSHU�ULJKW�FRUQHU��7KH�FDPS�TXDOLWLHV�RI�5L]-]R¶V�ZRUN�FRQWUDVW�ZLWK�0D[[�6L]HOHU¶V�UHÀHFWLRQV�RQ�JHQGHU�ÀX-LGLW\��7KH�PRQRFKURPH�WULSW\FK�SDLQWLQJ�Boyhood Dream (First Time at the Beach)��������XVHV�LPDJHV�RI�PDJLF�WULFNV�DQG�WR\V�that Sizeler played with as a kid to express the childlike wish

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WR�EH�WUDQVIRUPHG�IURP�D�JLUO�LQWR�D�ER\��IXO¿OOHG�E\�WKH�FHQWUDO�LPDJH�RI�6L]HOHU�GLVSOD\LQJ�KLV�EDUH�FKHVW�IRU�WKH�³¿UVW�WLPH�DW�WKH�EHDFK�´�,Q�Abracadabra (My Hand on T)���������6L]HOHU�LPDJ-ines what his hand would look like if he started taking testoster-one (full disclosure: I curated Sizeler’s work this past spring at WKH�812�6W��&ODXGH�*DOOHU\�� Of the three photographs by Chris Berntsen, Flayr in the Blue Dress� ������� UHSXUSRVHV� WKH� UHFOLQLQJ� IHPDOH� QXGH�pose from art history for an African-American man wearing a EOXH�GUHVV��SRVHG�RQ�D�ORJ�EULGJH�LQ�D�ZRRGHG�ODQGVFDSH��7KLV�UH-make of Matisse’s Blue Nude (Memory of Biskra)��������TXHHUV�the modernist canon, but its methods feel too obvious next to the more subtle Xavier Cruising ��������7KH�VXEMHFW��;DYLHU��LV�framed in a lush green landscape with palm fronds hanging over-KHDG��7KH� UHG� SDWWHUQ� RQ� KLV� VKLUW� EDODQFHV� LWV� FRPSOHPHQWDU\�FRORU� LQ� WKH�EDFNJURXQG��6WDQGLQJ�RQ� D�SDWK�� WKH� VXEMHFW� JLYHV�us a blank stare while starting to unbuckle his belt for what must EH�D�VH[XDO�SDUWQHU��+DQJLQJ�IURP�RQH�RI�KLV�EHOW�ORRSV�LV�D�%HWW\�Boop keychain, a small detail that individualizes the subject and UHÀHFWV� WKH�DUWL¿FLDOLW\�RI�FXOWXUDO� VWHUHRW\SHV�RI� VH[XDOLW\��7KH�hypersexualized femininity of Betty Boop seems to contradict the ambiguity of the situation, in which we don’t get to identify the JHQGHU�RI�KLV�SDUWQHU�EXW�DUH�DVNHG�WR�VWDQG�LQ�WKDW�SHUVRQ¶V�SODFH��7KDW�WHQVLRQ�LV�ZKDW�DFWLYDWHV�WKH�LPDJH�� In the main gallery, painting takes over, with pride of place UHVHUYHG�IRU�WZR�ODUJH�DEVWUDFW�SDLQWLQJV�E\�/XLV�&UX]�$]DFHWD��Viewers are immediately drawn to the bright neon rainbow col-ors of Heroes Tale� ��������DZDUGHG�%HVW� LQ�6KRZ�E\�MXURU�%LOO�$UQLQJ��'LUHFWRU�RI�&RQWHPSRUDU\�$UWV�0XVHXP�+RXVWRQ��7KH�painting almost dances with a syncopated rhythm created by a series of interlocking vertical pieces, some of them falling on a VOLJKW�GLDJRQDO��$�EULJKW� UHG�SLHFH� LQ� WKH�XSSHU� ULJKW�NHHSV� WKH�slivers in place, while the lines of the surrounding shapes are VR� FULVSO\� GUDZQ� WKDW� WKH\� UHFDOO� DUFKLWHFWXUDO� GLDJUDPV�� (DFK�RI�$]DFHWD¶V�SDLQWLQJV�LV�D�VTXDUH�FRPSRVLWLRQ�PDGH�XS�RI�IRXU�SDQHOV�WKDW�EULQJ�WRJHWKHU�IUDJPHQWV�RI�D�VKDSH��,Q�Green Square (Cairo)���������WKH�PDLQ�VKDSH�LV�D�SDOH�EOXH�DQG�JUHHQ�ZLWK�UDQ-GRP�EODFN�GRWV�DQG�GULSS\�UHG�DQG�ZKLWH�OLQHV��$�VTXDUH�VKDSH�LQ�the lower left tilts against the stable edge of the panel, and in the upper left, a grouping of brightly colored slivers creates tension ZLWK� WKH� RWKHUZLVH� RSHQ� VSDFH��+HUH� WKH� QHJDWLYH� VSDFH� GRPL-nates, offsetting its companion, Heroes Tale�� Many of the installation choices in the main gallery VHHP� WR� KDYH� EHHQ� GHFLGHG� E\� FRORU�� 'DYLG� &RODQQLQR¶V�Map 421F7 and Map 80M7 �ERWK�������KDSSHQ�WR�XVH�FRORUV�WKDW�DUH�similar to Azaceta’s, but the installation of his work downplays its more conceptual aspects (full disclosure: Colannino recent-ly graduated from the program in which I teach, where I got to NQRZ� WKRVH�FRQFHSWXDO�DVSHFWV���3ODFLQJ�&RODQQLQR�QH[W� WR� WKH�KLJKHU�SUR¿OH�¿JXUH�$]DFHWD�GHPRQVWUDWHV�RQH�RI� WKH�VWUHQJWKV�RI�WKH�³/RXLVLDQD�&RQWHPSRUDU\´��LWV�PL[�RI�HVWDEOLVKHG�DQG�QHZ�YRLFHV��,Q�WKH�PDLQ�JDOOHU\��ORFDO�IROORZHUV�RI�WKH�DUW�VFHQH�ZLOO�SUREDEO\� UHFRJQL]H� 6KDZQ� +DOO¶V� RUJDQLF� DEVWUDFWLRQV�� .ULVWLQ�0H\HUV¶V�IHWLVK�¿JXUHV��DQG�$UWHPLV�$QWLSSDV¶V�DEVXUGLVW�REVHV-sion with glitter-coated fried chicken, presented this year in the form of two videos, Eating Chicken (Mild) and Eating Chicken (Spicy)��ERWK��������%XW�WKH\�PLJKW�QRW�UHFRJQL]H�QHZHU�YRLFHV�VXFK�DV�&RODQQLQR�RU�5\DQ�6DUWLQ� Deconstructed painting is a visible trend in the main gal-

OHU\��:LOOLDP�'H3DXZ¶V�Frames with Images� ������� LQYHUW� WKH�usual relationship between painting and frame by exaggerating WKH�IUDPH��7KH�ELJ�FHUDPLF�IUDPHV�VXUURXQG�VPDOO�JHRPHWULF�EOXH�SDLQWLQJV��5\DQ�6DUWLQ¶V�FDQYDVHV�DOVR�GHSDUW�IURP�WKH�VWDQGDUG�E\�TXHVWLRQLQJ�WKH�ÀDWQHVV�RI�WKH�FDQYDV�DQG�WUHDWLQJ�WKH�FDQYDV�DV� DQ�REMHFW�� ,Q�Fleur de Lis Couple� �������� WZR�YHUWLFDO� FDQ-YDVHV� DUH�SURSSHG� DJDLQVW� WKH�ZDOO� LQVWHDG�RI� KDQJLQJ� IURP� LW��7KH�FDQYDVHV�DUH�EDUH��VWDPSHG�ZLWK�JROG�ÀHXU�GH�OLV��7KH�XVH�RI�the stamp counters the expectation of expressive brushwork and nods to the omnipresent symbol of New Orleans, thus conjuring DVVRFLDWLRQV�ZLWK�WKH�WRXULVP�LQGXVWU\�DQG�WKH�EXVLQHVV�RI�ORJRV��Cosmic Ash Flower Bed �������LV�D�OXPS\�VWXIIHG�FDQYDV��LWV�WLWOH�calling up Robert Rauschenberg’s landmark painting Bed ��������%ULJKW�PDJHQWD�ÀRZHUV�DQG�SXUSOH�SDOP�WUHHV�VWDQG�RXW�DJDLQVW�a ground of black palm ash that has been smeared over a tropical SDWWHUQHG�IDEULF�IHDWXULQJ�WKH�ÀRZHUV�DQG�WUHHV��7KH�NLWVFK\�IDE-ULF�TXHVWLRQV�WKH�KLJK�DUW�DVVRFLDWLRQV�RI�SDLQWLQJ�� 'DYLG�%RUGHWW�FULWLTXHV�WKH�WUDGLWLRQ�RI�SDLQWLQJ�E\�XV-ing actual objects instead of representing objects on the canvas DV�LPDJHV��+H�DOVR�UHMHFWV�WKH�FDQYDV�VXEVWUDWH��XVLQJ�LQVWHDG�DQ�old door hung horizontally for Secret Truth, Witches Brew, Black-berry Juice���������7ZR�SODVWHU�KDQGV�KROG�D�VWULQJ�RXW�LQ�IURQW�of the surface, creating a curving arc instead of a drawn line, and at left a still life sculpture of a teacup rests on a little pedestal SURMHFWLQJ�IURP�WKH�VXUIDFH��%ODFNEHUULHV�DUH�WKH�WKHPH��SDLQWHG�on the teacup, printed on the fabric around the cup, and offered LQ�IDX[�EODFNEHUULHV�VFDWWHUHG�DURXQG�WKH�FXS��3DWFK�6RPHUYLOOH¶V�Redacted �������LV�DQ�;�VKDSHG�FDQYDV�WKDW�IHHOV�OLNH�WKH�QHJD-tive of Stacks ��������WULDQJXODU�SLHFHV�UHVWLQJ�DJDLQVW�HDFK�RWKHU�on a shelf, as if someone had cut the original canvas apart into IRXU�SLHFHV��2I�6RPHUYLOOH¶V�ZRUN��P\�IDYRULWH�ZDV�WKH�RQH�WKDW�GLG�PDLQWDLQ� WKH� WUDGLWLRQDO� UHFWDQJXODU� FDQYDV�� ,Q�Overgrown �������� D� EODFN� UHFWDQJXODU� VKDSH� WULHV� WR� REVFXUH� D� ODQGVFDSH�EHKLQG�LW��:LWK�FLUFXODU�VKDSHV�SDUWLDOO\�RU�FRPSOHWHO\�FXW�RXW�RI�the black shape, it plays with our desire to see what is behind—to VHH�ZKDW�LV�EHKLQG�WKH�FXUWDLQ��¿JXUDWLYHO\�VSHDNLQJ��RU�EHKLQG�WKH�SLFWXUH�SODQH� In contrast to these meta-narratives about painting are gestures toward horror vacui in the more whimsical pieces such as Shawne Major’s curtains of found objects: beads and jewelry ZRYHQ�WRJHWKHU�WR�FUHDWH�D�FDUSHW�WKDW�EHJV�WR�EH�WRXFKHG��'L[-on Stetler’s giant basket is an entertaining mix of hoses, cords, Christmas lights, boa feathers, a Nintendo controller, tinsel, and HDUSKRQH�FRUGV��6RPH�RI�WKH�SDLQWLQJV�LQ�WKH�KDOOZD\�QRG�WR�3RS�VXUUHDOLVP��3DXO�/H%ODQF¶V�YLVLRQV�IDVFLQDWH��VXFK�DV�7he Bird of Hermes���������LQ�ZKLFK�D�VRXU�JUHHQ�PRQVWHU�VWDQGV�RQ�DQ�RUE�and opens his mouth wide to capture his own twisting append-DJHV��%DW�ZLQJV� FRQQHFW� WKH� FUHDWXUH� WR� LWV� QDPH�� HPEOD]RQHG�DERYH��(YHU\WKLQJ�IURP�WKH�VKDSH�RI�WKH�FDQYDV�WR�LWV�LFRQRJUD-phy recalls medieval art, but read through the local lore of Mardi *UDV�DQG�WKH�WKHRU\�RI�WKH�FDUQLYDOHVTXH��,W¶V�DFWXDOO\�EDVHG�RQ�D�VHFWLRQ�RI�WKH�5LSOH\�6FUROO��QDPHG�DIWHU�D���WK�FHQWXU\�(QJOLVK�DOFKHPLVW��+HUPHV�7ULVPHJLVWXV�ZDV�FRQVLGHUHG�WKH�IRXQGHU�RI�DOFKHP\�� Joshua Chambers’s Fragile and Much Less in Control �������RSWV�IRU�D�PRUH�PLQLPDOLVW�DSSURDFK��,Q�WKH�YHUWLFDO�FDQ-vas, against a background of sticky textured paint that transitions from a grey lavender at the top to a greenish grey at the bottom, DUH�WZR�PDLQ�FKDUDFWHUV��D�EODFN�ELUG�À\LQJ�DERYH��FRQQHFWHG�E\�

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a thin curving string to a cement block on the ground below, and D�KRRGHG�¿JXUH�O\LQJ�ÀDW�RQ�WKH�JURXQG��FRQQHFWHG�WR�DQ�DLU�WDQN��His hood resembles a diving helmet, making him into a failed -DFTXHV�&RXVWHDX�¿JXUH��7KH�UHGXFWLRQ�RI�WKH�VFHQH�SURPSWV�XV�WR�DVN��ZKDW�KDSSHQHG�KHUH"�7KH�ZRUG�µIUDJLOH¶�LV�EDUHO\�YLVLEOH��VHW�LQWR�WKH�SDLQW�XVLQJ�VWHQFLOV��DQG�EHORZ�WKH�¿JXUHV�LV�ZULWWHQ�LQ�SLQN�WKH�UHVW�RI�WKH�WLWOH��³PXFK�OHVV�LQ�FRQWURO�´�3HUKDSV�WKLV�RUGLQDU\�JX\�LQ�KLV�EODFN�&KXFN�7D\ORUV�KDV�UHDOL]HG�KLV�ODFN�RI�SRZHU�DQG�HJR��D�PRPHQW�RI�UHFRJQLWLRQ�WKDW�KDV�ÀDWWHQHG�KLP�� )UDJLOLW\�LV�DOVR�DW�LVVXH�IRU�$EGL�)DUDK¶V�PL[HG�PHGLD�pieces that subvert the victory obsession of sports by taking it WRR�IDU��Terrible Fans��������RYHUODSV�PXOWLSOH�UHG�VDWLQ�EDQQHUV�dedicated to a local high school football team, the John Curtis 3DWULRWV�� 7KH� SKUDVH� ³,� FDQ� GR� DOO� WKLQJV� WKURXJK� &KULVW� ZKR�VWUHQJWKHQV�PH´�LV�UHSHDWHG�RYHU�DQG�RYHU��VR�PXFK�VR�WKDW�ZH�DUH�SURPSWHG�WR�TXHVWLRQ�WKH�FRQQHFWLRQ�EHWZHHQ�&KULVWLDQ�IDLWK�DQG�WKH�VNLOO�RI�IRRWEDOO��)DUDK�GHOLEHUDWHO\�PHVVHV�XS�WKH�OHWWHU-

ing and the form of the banner throughout the series, using an aesthetics of failure to get under the skin of our cultural assump-WLRQV��� 2QH�RI�WKH�SUREOHPV�RI�WKH�³/RXLVLDQD�&RQWHPSRUDU\´�is that much of the work loses its power when crowded into small spaces like the hallway outside the main gallery, and when LVRODWHG�RXW�RI�LWV�RULJLQDO�FRQWH[W��7KH�IXOO�SUHVHQWDWLRQV�RI�(U-QHVW�-RVKXD�/LWWOHV��:LOOLDP�'H3DXZ��DQG�$EGL�)DUDK�DW�6WDSOH�*RRGV��IRU�LQVWDQFH��ZHUH�PXFK�VWURQJHU�WKDQ�WKHLU�H[FHUSWV�KHUH�PLJKW�VXJJHVW��*LYHQ�WKDW�WKH�DQQXDO�VKRZ�DOORZV�ZRUN�SURGXFHG�in the last two years, it might make more sense to move to a bien-nial format, or to use the annual to focus on how particular artists KDYH�GHYHORSHG�WKHPHV�RYHU�WKH�ODVW�WZR�RU�WKUHH�\HDUV��6XFK�DQ�approach would provide more insight into our local scene, one that the Ogden’s series has proven to be rich in content and di-YHUVH�LQ�VFRSH��������������������������������������������������������������������������

Luis Cruz Azaceta: Heroes Tale,������


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