Monday, January 7, 2013

Eulogizing locally with Emily Sloan

Dean Liscum

Emily Sloan is an artist, but she's also a facilitator, which is to say that she is a grand manipulator. If she sold used cars, I'd have 3 of them. If she needed someone to rob a bank for a "good cause," I'd be on COPS greatest hits. As a performance artist, her medium is her audience. She establishes the rules, sets up the constraints. Then the show begins. They witness and they participate. It is the audience participation that gives her pieces a sense of anticipatory wonder for me.

Her blog described the event at 14 Pews as 
...(an) interactive performance project comprised of the exploration of healing and death rituals to encourage participants towards realizations of the brevity of life and to aid in connecting to the present.
This kind of drama was enough to get the attention of the New York Times, so I figured it was worth my time.

As soon as I walked in I was greeted by two deaconesses. Before I could give them my spiel about how I'm an art blogger and a friend of the artist, and well humanity really, they simultaneously chimed "ten dollars please" and then gave me a "your money or your life" look. I simply emptied my wallet into their cup. As an after thought or an apology, one of them called out to me, "we're deaconesses."


Deaconesses or Bouncers

I took my seat and watched Sloan make minor adjustments to the space. Attendees lined up at the Eugology writing assistance table. Some were inquisitive and concerned. Some were quick. Some were needy.



When the eulogy assistance program was complete, Sloan began the service with a brief summary of what it was all about. Then she gave the first eulogy, which was for collection of Wayne Gilbert's paintings currently on display at 14 Pews. This act could have been humorous or ironic except for the fact that these paintings are made from the ashes (crematory remains) of people whose next of kin never collected their remains. Sloan pointed out that because these ashes were never claimed, they were never properly eulogized. So she did. 

And then the eulogies began.



The first eulogist enlisted the audience to help his sing a song by supplying the chorus which went...
You just bear this in mind, a true friend is hard to find /
Don't you mind people grinnin' in your face. 
I'm not exactly sure how the song was a eulogy but he got it passed the deacons. Who am I to question them? Then a series of assisted eulogies followed. They had a Mad Lib quality about them. Each included a lines quantifying the duration of the relationship in minutes, "I knew the (eulogized) for ________ minutes." Another product of eulogy assistance involved secreting away the eulogized. "...hiding the (eulogized) in ___________.



Relationships were eulogized. A couple of participants eulogized ex-lovers, who I gathered were not deceased but were dead to the speakers. One lover seemed to morn the loss of her lovers big truck more than the lover. Friends eulogized each other. A husband eulogized his wife. She eulogized him back. One man eulogized himself.



I'm not sure if these eulogies were encomiums, high praise for thriving relationships, or velleities, weak wishes for their quick, quiet demise.

One woman eulogized a particular pen. I think it could be expanded to all writing implements, as several smartphones buzzed and chimed.

Another woman gave a eulogy in Spanish and then left with her friends before I could ask her to translate.



It's probably blasphemous to admit that I had a favorite eulogy, but I did. Two, actually: by Stalina Villarreal and Koomah. 

Villarreal eulogized the skin on her breast. Koomah, similar to our pony-tailed choir master, chose not to mourn but to educate. He described the Japanese superstitions around death. A few of the were
  • Not saying the words for the numbers 4 and 9, because they are the same as "death" and "pain". As many Americans buildings don't have a thirteenth floor, many Japanese buildings don't have a fourth or a ninth.
  • Don't sleep with your head pointing north because that's how the dead are buried.
  • Don't write someone's name in red because the name of spouse's of the dead are written in red on the dead's tombstone and then washed away when the spouse dies.
  • Don't pass things from chop sticks to chop sticks because that's what's done as a funeral ritual.
  • Don't cut your nails at night or death will come early.





When the eulogies concluded, Sloan asked the congregation to form a circle and hold hands. She described it as a "primal scream circle". We each took turns individually screaming or not and then squeezing the hand of the person on our left to indicate that we were done. Then we collectively screamed. 

Temporarily unburdened, we followed Sloan to the Funeral pyre burning in the back yard. A few people quietly burned some mementos.  One individual burned a pair of sunglasses for a friend who had died in a motor cycle accident. The ceremony concluded. We went inside to share a potluck meal.

As I waited in line for the food, I reflected on and was a little surprised at how very small and personal the ceremony was.

No one eulogized violence against women or the converse, women's equal rights. No one eulogized the Israeli-Palestinian conflict, the Syrian oppression or the rebel uprising, the Egyptian constitution, or Human rights abuses in Russia or the travel visa of those who commit them. No one eulogized Ai Wei Wei or his interrogators. No one eulogized assault weapons or banana clips or elementary kids simply doing what elementary schools do. No one eulogized global warming. No one eulogized Foxconn or the end of assembling 21st century technology in a 18th century manner, namely by hand. No one eulogized the war on drugs or terror or immigrants.

I don't know that that was a good thang or a bad thang. May be it's just a thang. Sloan let the ceremony unfold organically, and that's how it played out. May be it's a sign that we need to deal with our thangs, first, before we can finish up some of these other thangs. May be it's a shortcoming.

I wasn't sure then. I'm still not.

So I ate my Hoppin' John with the rest of the congregation and wished myself and the world a little luck. I think we're gonna need it, whatever the thangs we need to put behind us in the coming year.

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Last Day to Vote

I know it seems like 2012 was a thousand years ago, but we're still collecting votes for the Best of 2012. Please take the time to vote for your favorite art exhibits and performances from 2012. And remember, you can vote for as many exhibits and performances you like. Vote here.

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Saturday, January 5, 2013

A Tree Grows in Menil Park

Robert Boyd

A year and a month ago, some unknown person snapped the tree that the Art Guys had "married" and subsequently replanted in Menil Park. This was the culmination of a whole lot of craziness, which I wrote about here, here and here, and which got its most complete coverage in an article by Mimi Schwartz for Texas Monthly.



This is what it looked like shortly after the attack. It looked like a goner to me, but apparently the Menil felt it would survive. And they were right.



I shot this photo on a chilly, cloudy January morning. And lo and behold, the tree has grown substantially in the past year--doubling in size at least. Whatever one thinks about this tree as an artwork, the tree itself was an innocent victim. It's wonderful to see it recovered and growing.

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Friday, January 4, 2013

What I'm Looking Forward to Seeing in 2013

Robert Boyd


Forrest Bess, Untitled, 1947, oil on canvas

Forrest Bess: Seeing Things Invisible at the Menil Museum, April 19 to August 18, 2013. This is not a full-scale retrospective, apparently--the show will consist of 40 paintings and several works on paper, and will incorporate the Robert Gober-curated Forrest Bess mini-show that was part (the best part) of the most recent Whitney Biennial. I can't wait, but I wish it was bigger.


Ken Price, Underhung, 1997, Fired and painted clay, 23 ½ x 21 ½ x 16 in. 

Ken Price Sculpture: A Retrospective at the Nasher Sculpture Center from February 9 to May 12, 2013. You can see this show at LACMA for two more days, if you happen to be in L.A. this weekend. Its next stop, at the Nasher Sculpture Center, definitely justifies a road-trip to Dallas.


DeFeo working on what was then titled Deathrose, 1960. Photograph by Burt Glinn

Jay DeFeo: A Retrospective at the Whitney Museum, February 28 to June 2, 2013. I'm definitely taking a trip to New York to see this. I've greatly admired the few Defeo pieces I have seen in person and have longed to see her famous Rose.

 
James Turrell, Acro, Green, 1968, projected light

James Turrell: A Retrospective at the Museum of Fine Arts, Houston, from June 9 to September 22, 2013. Before he became a designer of aggrandizing ziggurats, James Turrell made some pretty compelling artworks. I look forward to wandering through darkened galleries looking at piece like the one above.

What art are you looking forward to seeing in 2012?


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Lost in Cyclea and I'm OK with that

Dean Liscum

I don't know a lot of installations that have their own Facebook page, but Cyclea is one. The show is actually entitled Comeplay Comply Arraycycle and it encompasses more than just the work of Cyclea, which is
...a performative audio/visual/dance project between Jonathan Jindra & Y. E. Torres (ms. YET) that utilizes the possibilities of technology to reconstruct a stylized understanding of their realities into a fused sensory experience.
I stepped into El Rincón Social and realized that I was as close to Psychedelia as I was going to get without placing the a stamp-sized ticket under my tongue. The room had a vibe that was part 60's psychedelic party and part 90's rave. Some of the abstract images projected onto the walls merged into each other.


The images were organic: liquid, shimmering, viscious and leafy, filigreed, floral. The film lacked a plot but it had a narrative directions. The images transistioned into one another as if they were orchestrated scenes.


Others appeared and disappeared with slide show finality.


These were Sandy Ewen's microcollages. Each is an abstract collage of natural and artificial materials on 2" x 2" transparent plastic canvases.


The works are then loaded into an old fashion slideshow carousel and projected on the walls.



Jindra took digital images of Ewen's microcollages and merged them into a film loop that played adjacent to the stills. They give one a sense of imperfect fractal art or algorithmic art, seen up close, within the interval, before the pattern has a chance to repeat yet alluding to its repetition.

The audio played over the images in that the sounds seemed disembodied and unrelated to the visual cornucopia. The tracks could have been out takes from Hunter S. Thompson audio diary or random recordings from a Metro bus ride. I found them unintelligible at best and irrelevant at worst.

Tucked away in the smaller gallery space was Zubi Puente's work, which I experience as one continuous childhood hallucination. She creates the kind of environments in which you enter thinking you're following Alice into the looking glass and stumble upon the circumcision of a teddy bear. And (and this is a big AND that owes a lot of credit to Puente's aesthetic) be OK with that.


The installation expanded to fill the room with a mix of constructionist strips and angular shapes mixed with





balloons, bulbs, and a circular, web-like portal. Random blankets and quilts covered the floor. Rope lights


straddled a low corner and a couple visitors were cuddled up on the covered concrete floor either against the cold or for some cold, hard loving.


The one anomalous detail were the books scattered on the floor. It wasn't clear whether I was supposed to curl up in a corner and read them or just assume "all those ideas in these books, they apply to this installation, too." If the former were the case, it was too damn dark and I'd have rather cuddled up with the others. If the later was the case, then to quote another audience member "[the books were an] especially lazy move--as if they wanted to refer to these books without actually doing the work necessary to embody the ideas within the work."

Then of course there were the books themselves. One of them was "Getting the Love You Deserve" or something along those lines. That title completely discouraged me from delving into it because my aspirations for love so far, fAR, FAR outstrip what I deserve or would ever be entitled to that I didn't want to learn how unrealistic my expectation are. Obviously, for personal reasons, I never got beyond that book.

The event invite stated "We've enlisted the help of some friends to help fully realize the possibilities of the space." Still, I'm not quite sure what the unifying theme was among Sandy Ewen/Jindra-Torres video-sound installations and Zubi Puente's installation.  Other than space, time, and ms. YET, they seemed to lack rigorous coherence.

For some that may be enough. For others, it's probably not.


I regret that I didn't stay long enough to get seriously social at El Rincón Social.  However, I did leave with a head full of spray glitter...because ms. YET asked, of course. (Who can deny her?) So I felt I did my part. I'm eager to see what Jindra/Torres will produce from the footage that they record during this show.

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Thursday, January 3, 2013

Intensities: A Talk with Lynet McDonald

Virginia Billeaud Anderson

Lynet McDonald opens her solo exhibition Intensity at Redbud Gallery on January 5. We spoke together and she told me a few things about her art.

Virginia Billeaud Anderson: How many works will you show? Please give me a brief description of your exhibition scheme.

Lynet McDonald: I am planning on displaying about 15 pieces at Redbud. The name of the exhibit is "Intensity". That is a common theme with all of my women no matter what their ethnicity, time period, or emotional state. They are all intense looking, mostly because I am an intense person myself. I am very emotional and intense and this gets passed on to the women in my artwork. I usually put some of my own facial features in them to make it more personal too. But even if they don't end up looking like me, they certainly show how I feel inside. Even my historical pieces display my moods. For example, I chose to paint "Athena" during a time when I needed to be strong despite the difficult issues that I was going through. "Athena" is a strong warrior undeterred by adversity. That's why she has the head of Medusa on her breast plate. She was not afraid of beasts and destroyed Medusa. Even when the women in my paintings seemingly don't relate to me, they actually do. I think a lot of women no matter what ethnic background or time period they are from, they go through many of the same things.


Lynet McDonald, Athena, 2012, Oil Pastel on Masonite, 27” x 21”

VBA: The images related to history or historical figures, such as Greek mythological or Meso American figures or Marie Antoinette contain details that seem to require a bit of research. Please make a comment about your research.

LM: I do a lot of research for my historical pieces. Sometimes the research takes me longer than doing the painting. I like to be accurate. I don't just go through the internet and get whatever info I find. I try to look for legitimate sources like museums, books, and archaeological findings. For my Egyptian oil pastel piece on masonite The Beautiful One Has Come, I spent a long time researching hieroglyphics. I wanted to write in hieroglyphics "The Eternally Beautiful One Has Come". I didn't just want to display any type of nice looking hieroglyphics. I wanted to display that phrase in the same manner and order that the ancient Egyptians did. It matters a lot to me to be accurate in my artwork. I also research hairstyles, jewelry, and clothing from the time period for my historical pieces. For the Aztec piece that Gus [Kopriva] purchased from me (Ichpochtli), I used only colors and ornaments that the Aztecs (Mexica is their accurate name) used pre-conquest. I didn't want my piece to have any European influence. It was very hard to do this piece because most of the Aztec books and items were destroyed by the Spanish so there was very little information.

VBA: Your resume reveals no academic training. You are self taught yet your technique is extremely polished, how did you develop such dexterity?

LM: I am a self-taught artist. The only formal art classes that I took were the required ones in high school. I have never taken an art class or workshop after that. I started drawing when I was very young. It was my way to deal with issues during my childhood. My dad was an alcoholic. He would take out his frustrations on his family. Even though he is a very educated man who got a PhD in Organic Chemistry in the US on a scholarship, he was traumatized by childhood demons of his own. So during the very difficult times in my childhood, I would escape by drawing faces of women. My mom was a very beautiful woman, but also very depressed and sad due to my dad's behavior. I think that's how I got the idea of always drawing beautiful emotional women. It seemed ironic to me that such a beautiful woman (my mom) who got admired so much could be so sad and depressed. So I continued drawing faces over and over and got better and better as I kept doing it. I stopped doing art when I went to college and dedicated myself to my programming career. I went back to doing art after my daughter was born. Sometimes people think that my career switch was very drastic and different, but it doesn't feel like it to me. I have always been very analytical and good in math and science. I like puzzles and figuring out things too. This is why I was a successful programmer. Art is not much different for me. My art is exact and realistic. It displays my analytical side. My art research displays my need for accuracy. You have to be accurate to be a good programmer too.


Lynet McDonald, Jamila,  2009, Oil Pastel on Masonite, 27” x 21” ("Jamila" means “beautiful” in Arabic)

VBA: Emotions underscore your art. What else influences you, do you spend time in museums, looking at other artists, if so who?

LM: I get inspiration from many places. I love reading, going to museums, going to art events, watching period pieces, and independent films. I am constantly daydreaming and making up stories in my head. I think imagination is so important to get through life. When I do art, I go into another world where anything is possible and you can be whoever you want to be. There is no pain, no hunger, no anger, not even time exists. I become completely focused on my art and that is why I prefer to paint alone. I cannot immerse myself in my art world while others watch me or speak to me. It’s my alone therapy time.


Lynet McDonald, Enough is Enough, 2011, Oil Pastel on Masonite, 27” x 21”

VBA: You are in a weird and wonderfully unique environment working closely with Gus, in the midst of his collection, his artists and exhibitions, and being exposed to Sharon Kopriva’s art. Has the experience impacted you?

LM: I cannot say enough about Gus and Sharon. They are a true inspiration to me. They are the kindest people I have ever met. People can be kind and nurturing while at the same time collect or create what others would consider odd pieces of artwork. Gus’ collection is very unique and blunt at times, but that just displays a side of his personality. Sharon’s work is mostly dark and intense which reminds me of mine. I feel very grateful and honored to be working at Redbud. I love being surrounded by art and interacting with artists, art collectors, and art lovers. Redbud has such a positive vibe. It’s a little piece of heaven for me.


Lynet McDonald, Come to Me, 2012, Oil Pastel on Paper, 32” x 26”


Lynet McDonald, Maya, 2012, Oil Pastel on Masonite, 23” x 19”

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Tuesday, January 1, 2013

Against Artist Statements


 
Ken Price, L Red, 1963, Ceramic painted with lacquer and acrylic on wood base, 13 ½ x 12 x 10 in.

As far as I'm concerned, the explaining artist puts himself or herself in front of the work for the purpose of destroying the mystery of how it came into being. Borges said, "Rational explanation destroys the faith that art requires of us." That's for the viewers. For the artists, I think we need to have faith that the art experience can take place between the viewer and the work itself. [Ken Price, from "Ken Price: A Talk With Slides," Chinati Foundation Newsletter, October, 2005]

This quote was reprinted in the beautiful catalog, Ken Price, for the Ken Price retrospective at LACMA (coming soon to the Nasher Sculpture Center.


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