Showing posts with label collage. Show all posts
Showing posts with label collage. Show all posts

Monday, June 22, 2009

Scott Rummler - “Politics and Tabloid Headlines and Shoes”

photos: Bob Raymond (MAG):




video stills:








Scott Rummler
“Politics and Tabloid Headlines and Shoes”
xeroxed collage from newspapers and magazines

Scott Rummler "Theme: Politics and Tabloid Headlines and Shoes" - The Politics of Shoes from MobiusArtistsGroup on Vimeo.



Images are of Adlai Stevenson with a hole in his shoe, Howard Dean's famous scream, and NYC Mayor Michael Bloomberg in dress shoes.

Back story:

Stevenson's picture was taken showing a hole in his shoe, unusual since he was very sharp and well dressed. His team claimed it showed his common-guy pavement pounding approach. Those opposed to him may recall differently: that he lost the election because the photo made him look bad.

Howard Dean had to yell to be heard in a giant noisy room because the audio wasn't working. Journalists used a special mike to drown out the background noise making him sound like a yelling madman. Journalists acknowledged the piece was fake, but said Dean should have expected it, therefore he wasn't presidential, and replayed it endlessly.

Bloomberg is in favor of green projects. He doesn't quite fit in here with his fancy shoes. At a city pool opening he wore a white t-shirt and shorts to go swimming. Here he is in Bermuda shorts - he is criticized for going to his Bermuda mansion and being out of pocket on weekends. He is sometimes thought out of touch. His financial info company was used to create the derivative products that ruined the economy; he is the only top billionaire to get richer last year. He sent his former deputy mayor to be the new co. president and restructure the company as the housing bubble burst, so some think he knew what was going on. Used cosmetics kingpin pal to change city law allowing him to run for a third term, on grounds his expertise is key in handling the financial crisis. Owns giant news conglomerate.

Scott Rummler is a creative artist in New York City. He has shown his art work in a number of alternative spaces and currently is in a show at Gravity Arts in Norwalk, CT. He has an MFA from RIT, and works in other areas including Web design, writing, and acting.

http://www.flickr.com/photos/srummler/

Note from the Curator:

The original proposal from the artist transformed due to time constraints. Here is the progression:

Initial proposal: "These are images painted on newsprint. Multiple copies will be sent to the Curator. General performance specs are to distribute images to audience, or to tear up by performers, or both, or in any way that best suits the performance, in keeping with the general tenor of this message and final discretion to the Curator."

Version #2: "What I have now is photocopy collages. Not high production values, but there is a precedent for that type of thing and the concept is solid. I'll mail in an envelope tomorrow. Might be nice to do something more high fidelity but not enough time, so I hope you can use these."

Further Clarification: "The connection is tabloid journalism: both guys brought down by doctored news media. Keep or leave as you like. I'll send a few more more that highlight that.. but if they are not shoe-ey enough you can leave them out."

David Chin and the Curator weren't sure how to use the xeroxed collages in an audience participatory action. Many people potentially didn't even know who Adlai Stevenson was and would be puzzled by the headlines. For this reason, the Curator decided to use them in the exhibit and scattered them on the floor in a somewhat haphazard manner (and stepped on them for good measure). The artist was fine with the resultant installation of disposable media and presumably disposable politicians.

A side note: when the journalist G. Jeffrey MacDonald came to visit the exhibit, he commented that when he was reporting on Howard Dean before he became a presidential candidate, Dean was seen as a conservative by the press and his constituents, a far cry from his later "liberal" platform. Waffles anyone?

Friday, June 12, 2009

Karen Klein - "Brand Names installation artist




photos: Bob Raymond

Karen Klein
"Brand Names"
cedar, styrofoam, cardboard, paper, mixed media

The purpose of this installation is to call attention to the comodification of shoes and of art. The artist states that her work: “It is not part of any performance, but could be destroyed during a performance, or persons, could throw their shoes at the tower of shoe boxes, if they wished.”

Karen Klein is a visual artist and a dancer. As an artist, she makes wood and wire sculptures, installations, and ink drawings. A member of New England Sculptors and Studios Without Walls, she has had eight solo exhibitions and been in numerous juried and invitational shows. As a dancer, she is a member of Prometheus Dance Elders Ensemble and has also performed in works choreographed by Daniel McCusker, Emily Beattie, and Kee Chin.

www.nesculptors.com
www.gallery333.com

Notes from the curator:

1. The small cedar shoe was hand carved by the artist.

2. Karen Klein generously donated the entire installation to Mobius including the cedar shoe and the sequined high heeled shoes which were used to activate John Murphree's gong installation by various performers, audience members and visitors to the exhibit. The artist said her days of wearing the sequined shoes are long over and if anyone can fit into them and would like them, they are welcome to them. Needless to say, the curator kept the cedar shoe as a memento of The Politics of Shoes.

How Karen Klein's installation was used in performance:
If you want to experience a sped up version of what the audience experienced, watch Video #1.
If you'd just like to skip directly to where Karen Klein's is actually "manipulated", watch Video #2.

Video #1:

Moving Sound Meditation on Sam Tan's '63 in '08" The Politics of Shoes @mobius - Shorter version 7:20 mins from MobiusArtistsGroup on Vimeo.


** SPOILER WARNING - VIDEO #2 and DISCUSSION BELOW **




Video #2:


Performance vs. Theater discussion:

The destruction of the artist's installation was referenced in a discussion amongst members of the Mobius Artists Group. I've included the salient points here:

From Margaret Bellafiore to the group in answer to Tom Plsek's question:
"RE answering the question:Theatre and/vs? Performance, the range of answers would be quite personal, I would think. For me, I find Performance converges with life, or "life" or LIFE, while Theatre, for the most part, does not, though sometimes it does. (!) I can think of a very recent example, where there seemed to be a convergence of Theatre, Performance and Life. Last night, Jane was dragging bells in the space in an improvisational way ( aha, improv seems more a part of Performance and not Theatre, again for the most part). Then another "performer and/or actor" (Karen Klein, I believe) charged into the space from outside wearing a wig and carring a large bright red pocketbook. She proceeded to smash up a small installation swinging that red bag, beating it to smithereens ( aha, the presence of smithereens might be key part of Performance or perhaps Theatre, or perhaps both!) Then, she left, storming out the front door. All during this time, Jane continued to drag bells. It seemed to me, that tit was the interaction of the two women in the space that felt like performance because it seemed neither one really knew (I assume) what the other was going to do next. (The actions of Karen if she had done it alone felt like Theatre.) Before I delete all of the above, as I am realizing I can't aswer your question-- I do want to note what felt last night like 100% Performance: Some people were walking outside the space on the sidewalk during some movement actions and stopped to gawk through the windows at the patio end. Then, they really started to pay attention and began slowly walking to the other side, watching and slowly becoming part of the piece inside. When they reached the far end, they waved and clapped and the audience inside did the same. Those moments of unpredictability and convergence: is that it? AHHHH!"

From Jane Wang to the group:
"hi all. would you believe that was actually Liz Roncka and also the piece being smashed was by Karen Klein (who is also a dancer a strange coincidence no?) i was originally going to just do a SHORT walk thru the gallery somewhat serious and somber even with my stupid wild outfit but i was thinking rashomon or some other trippy japanese film... but then the night before i told liz, longingly - that karen really wanted someone to destroy her piece (and i really wanted someone to do it) so liz said - ok i'll do it -- and then she came up with the idea of running in and smashing the thing and running out... she was further fueled by Haggai (the musician she performed with on Sat and Sun) basically saying he didn't believe she would do it -- a DARE if you wish... we thought about whose performance she could interrupt and then i thought well maybe i'll turn my piece into a durational "waiting for liz " piece and make it deliberately long and dreary and when will this stupid thing be over already... but that doesn't answer tom's question either... (-:"

video credits: Charles Daniels, Matt Samolis, Liz Roncka, Jane Wang

Email from Karen Klein - June 14, 2009:
"I loved seeing the video--you draped like some ancient figure and Liz romping through my installation. Also loved how she used the actual shoes as weapons. That made me realize that we do use shoes as weapons. Think of Nancy Sinatra's "These boots are made for walkin'" for the gender wars and the jackboots of thugs and paramilitaries who kick folks into submission. Our term 'kick ass' hides the shoe image but implies it."

Monday, June 8, 2009

James Ellis Coleman - "Stay In Your Own Backyard"

James Ellis Coleman: "Stay In Your Own Backyard"
mixed media installation

photo: Bob Raymond (MAG)


video still: Jane Wang (MAG)


video still: Jane Wang


An installation that examines the subtle relationships between the images of shoes and the coded messages of turn of the century song lyrics about African Americans and the Irish.

As the Artist states:
“Lyrics that were intended to be humorous but are in fact racially insensitive."


James Ellis Coleman has an MFA and a BFA from Massachusetts College of Art. He has had solo shows at the Sherborn Public Library, Sherborn MA., Harris Berman Diversity Gallery, Tuffs, Watertown MA, Gallery at Concepts, So. Natick MA, and The Center for Art in Natick, Natick MA. He has also shown in group shows at the Fuller Museum of Art, Brockton, MA, Cambridge Art Association, Cambridge, MA, MPG Contemporary, Boston, MA, Limner Art Gallery, Hudson NY, Amazing Things Art Center, (juried), Framingham MA, Brush Art Gallery and Studios, Lowell MA, Hera Gallery, (juried), Wakefield RI, and the annual juried show at the Zullo Gallery, Medfield MA.

He was honored to have a commission from Urban Arts, in Boston Ma. in 2004 as well as a residency at The Vermont Studios in Johnson Vermont in 2005 and won first prize at the Amazing Things Art Center in Framingham Ma.


Notes from the Curator:

1. You can see/hear a brief conversation with James while he is de-installing his piece if you watch the two videos posted on June 6th from the POV of a visitor to the exhibit.

2. A couple of visitors responded to and "got" this piece instantly: the journalist G. Jeffrey MacDonald who often reports on social and religious issues and the other is the jazz pianist and vocalist Carolyn Wilkins who previously had heard about the song but had never previously seen the lyrics.