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The James Gallery: The House of Dust

CUNY’s James Gallery at The Center for the Humanities ushers in the fall semester with an exhibition based on Alison Knowles’s 1967 conceptual work The House of Dust. The show seeks to encompass the many limbed and generative nature of Knowles’s artwork by showing how it continues to stimulate other artists to explore its themes of translation, permutation, intentionality and inclusivity, bringing to light the work’s enduring relevance.

The House of Dust is a computer generated poem written in the programming language FORTRAN, which generates verses by randomly combining elements from four lists pre-determined by Knowles: each verse consists of four components including, and always beginning with, “a house of,” followed by a location, then a material, and finally a category of inhabitants. The poem repeats after 400 verses. In 1969, based on one of the verses, “A HOUSE OF PLASTIC/ IN A METROPOLIS/ USING NATURAL LIGHT/ INHABITED BY PEOPLE FROM ALL WALKS OF LIFE” Knowles constructed an actual “house” in Chelsea. The house was moved to Burbank, California when she took a teaching position at CalArts in 1970. Knowles also orchestrated several other projects using computer programs, involving students and community members with her house as the nexus.

The Limits of “No Limits”

Hommage à Chu Yun—05.05.55 (Homage to Chu Yun—05.05.55) 1955 Oil on canvas 76 3⁄4 × 51 1⁄8 in. (195 × 130 cm) Private collection, Switzerland ©Zao Wou-Ki ProLitteris, Zurich. Photography by Dennis Bouchard
Hommage à Chu Yun—05.05.55 (Homage to Chu Yun—05.05.55)
1955
Oil on canvas
76 3⁄4 × 51 1⁄8 in. (195 × 130 cm)
Private collection, Switzerland
©Zao Wou-Ki ProLitteris, Zurich. Photography by Dennis Bouchard

At the entrance of the exhibition floats Zao Wou-ki’s painting Hommage à Chu Yun—05.05.55 (1955), a large canvas cloaked in fluid patches of startlingly limpid aquamarine, rust, and warm cream. The abstract work appears to conceal something underwater. Perhaps it is the ancient Chinese poet of the title, who, after being exiled, drowned himself in the Miluo River. The concentration of reddish color in the center hints at an object, yet the iridescent ripples make it difficult to identify.

No Limits: Zao Wou-ki, currently on view at the Asia Society Museum, is the artist’s first-ever retrospective in the U.S. Zao (1921-2013) is perhaps best known as the Chinese painter who moved to Paris after World War II, where he worked alongside the French Informel painters, while also maintaining a dialogue with the Abstract Expressionists in New York. Zao was not singular in his global career: many post-war painters enthusiastically communicated with an international network of artists and traveled around the world. The exhibition curators Dr. Melissa Walt, Dr. Ankeney Weitz, and Michelle Yun characterize modern abstract painting as defined by this “dynamic cross-cultural circulation of ideas and images.”

Some Thoughts After Attending the Art on Paper Fair

What is known as “Armory Week” took place early March in New York. The roughly seven-day-long art extravaganza takes its name from the 1913 Armory Show—America’s first large-scale exhibition of modern art, which took place in the Regiment Armory on Lexington Avenue. Every year, Armory Week encompasses numerous art fairs and events across the city, providing excellent opportunities to not only look at art and meet artists and art world professionals, but also to practice observing the art market and predicting forms it could take in the foreseeable future. On March 6, I attended the Art on Paper Fair. As many will likely admit, time at art shows goes by quickly and is never quite enough. Thus, I focused my visit on new, alternative uses of the paper medium, observing the gamut displayed, speaking with artists and dealers, and gauging the visitors’ reactions.

Hideho Tanaka, Vanishing and Emerging Wall, 2009, paper, 87 x 102 x 11 in, browngrotta gallery, photo by author.
Hideho Tanaka, Vanishing and Emerging Wall, 2009, paper, 87 x 102 x 11 in, browngrotta gallery, photo by author.

One thing that became noticeable early on, while walking around the space, was the number of conversations concerning the apparent two-dimensionality of most works exhibited at the fair. Such observations were offered with a tone of disappointment, as though the future of paper, as presented here, had circled back on itself and was, once again, non-sculptural and flat. Despite the public’s generalizations about the prevalence of age-old applications of pencil, ink and paint, this year’s fair was actually marked with works that pushed far beyond tradition.

There were numerous instances of artworks that toyed with both two and three-dimensionality. A fascinating example was found in the offerings of Canadian artist and author Cybèle Young, represented by Forum Gallery, whose works are sculptures trapped in a frame. Elsewhere, Browngrotta gallery exhibited only non-flat works. Of particular note was “Vanishing and Emerging Wall,” 2009, a round textile by Japanese artist Hideho Tanaka woven out of squares of paper, painted with stripes and hung in such a way as to create vertical folds. Similarly, Owen James Gallery exhibited small paper pulp sculptures by Adam Frezza and Terri Chiao. The sculptures’ whimsical colors, glitter, and coral-like structure created a playful atmosphere that made them alluring to fair-visitors of all ages. Overall, encountering works that experimented with unique applications of the paper medium made the whole visit far more lively than one could typically expect of these fairs—like a treasure hunt of art on paper.

Saltz Does the Armory

Taking a deep breath as I stepped through the entrance doors to the Armory Show, I braced myself for the inevitable feeling of art overload I was about to experience; for me, each booth merges with the next, resulting in a shopping mall vibe that seems anathema to a productive viewing experience. But, let’s face it, this is exactly what an art fair should be, right?

According to Jerry Saltz, a self-proclaimed lover of all things art-related, art fairs aren’t about the art at all. They’re about the people. So he claimed in a talk entitled “LIKE, SWIPE AND DOUBLE TAP: Visual Criticism in the Digital Age,” moderated by Benjamin Genocchio, Executive Director of the Armory Show. Leave it to Saltz, known for never pulling his punches, to alleviate some of the commercial art world ridiculousness … or so I thought. The following is a response to one of the most ludicrous ‘talks’ I’ve attended in a long while. (Disclaimer: Devoted Saltz fans should stop reading now, if only to save themselves the indignation for more important battles, like social media censorship.)

When asked to describe my feelings about art fairs I usually reply with general disdain, laced with stronger feelings of actual disgust. I know many art historians, perched on our intellectual high horses, feel the same way about the overt commodification of art. Such fairs seem to suggest that artworks are best marketed as swank luxury goods or smart financial investments but not cultural treasures. Is this a just assessment? Probably not, given that we are all, even those members of the hallowed academy, proponents of the art market, whether we intend it or not. My morality may also be somewhat compromised for even attending the fair (though I did so on a free day pass; heaven forbid actually paying to go!).

The Eighth Floor, Please

Living in the vertical landscape that is New York City, riding in elevators is a familiar, even mundane activity. Ascending and descending, we arrive to our apartments, offices, the library, and even grocery stores. Still, after a quick trip to the eighth floor of a nondescript, corporate office space, it is a rare and even surprising treat to encounter the engaging and eclectic art exhibition, Between History and the Body, now on view in the aptly named gallery The 8th Floor.

Though unknown to many of the passersby along 17th Street, The 8th Floor celebrates its fifth anniversary this year, having been founded in 2010 by the collector/philanthropist couple Shelley and Donald Rubin. Previously, contemporary Cuban art dominated The 8th Floor’s exhibition schedule, reflecting one aspect of the Rubins’ collecting interests.[1] However earlier this year the gallery broadened its geographical focus, ambitiously revising its mission, “to explore the potential of art as an instrument for social change in the 21st century.”[2]

Ana Mendieta (b. 1948, Havana – d. 1985, New York). Untitled (Glass on Body Imprints), 1972‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬ Suite of six estate color photographs 16 x 20 inches each Edition 7 of 10 Courtesy of the Estate of Ana Mendieta and Galerie Lelong
Ana Mendieta (b. 1948, Havana – d. 1985, New York). Untitled (Glass on Body Imprints), 1972‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬
Suite of six estate color photographs
16 x 20 inches each
Edition 7 of 10
Courtesy of the Estate of Ana Mendieta and Galerie Lelong

Such lofty goals are reflected in the current show Between History and the Body. Curated by Sara Reisman, artistic director of The Shelley and Donald Rubin Foundation and the former director of New York City’s Percent for Art Program, the exhibition positions itself as, “a discursive territory in which ideas surrounding the construction of identity converge.”[3] Although the works on view are perhaps less praxis-oriented than is suggested by either this claim or the gallery’s mission, the show nonetheless raises and contests historical and societal paradigms regarding race, culture, gender, and sexual orientation. Focusing on representations of the body as a site of identity, an agent of protest, and a symbol of projected myths, Between History and the Body features an intriguing range of photographs, drawings, collages, sculptures, and videos by a diverse group of twelve artists, many of whom work locally in New York.

Finding Balance at Paris Photo 2014

This past weekend, photography fans and connoisseurs descended upon the Grand Palais for the 18th annual Paris Photo Fair. Held November 13-16, 2014, it boasted 143 galleries and twenty-six art booksellers representing thirty-five countries. Grandiose and historically rich, the venue provided ideal conditions for viewing photographs: the sprawling dome of the Grand Palais offered abundant natural light, while the tightly-packed booths were simple, cut-to-the-chase affairs, with off-white walls.

The upper level of the Grand Palais functioned as a non-commercial gallery space for recent acquisitions from the Museum of Modern Art as well as for the Alkazi Foundation for the Arts’ collection of early Indian and South Asian photography. Smaller wings displayed works sponsored by Giorgio Armani, JP Morgan Chase, and BMW. These spaces, located at the top of a grand staircase and away from the bustling ground floor, subtly linked the works on sale at Paris Photo with private, museum-quality collections, and underscored the potential for these photographs to act as investment pieces.

The beating heart of the fair was a social space at the base of the grand staircase, which was continually abuzz with visitors flipping through art tomes and awaiting artists’ signatures. Ample opportunity to encounter the artists themselves contributed to the sense that Paris Photo not only stimulates monetary transactions, but also the transaction of knowledge between enthusiasts and a shared passion for the medium.