Hyperlocal Shortlist 4: Searching for art
I was looking for an emotional experience, an opportunity to appreciate rather than simply see art. It took some work, but I found Art at Artprize.
Editor’s note about this series: We put a call out to ask one simple question: “Who do you like to listen to talk about art?” earlier this month, then asked those recommended local art lovers to form their own lists of finalists. A new collection of must-see work at ArtPrize 9 is added each day this week from another voice in our community. You can find them all here.
Great art is an emotional experience for me. When I attend an art show, I am prepared to study and take in anything that initially stirs up feelings or captivates me with creative application of technical theory.
So that’s what I was looking for when I attended ArtPrize as well. I struggled to find opportunities to appreciate, rather than simply see, the art. There are obstacles in place—from gimmicks and pandering from the artists to venues that cannot accommodate the lighting, space, and time required to showcase the work. I’m disappointed that I couldn’t bring myself into more than two restaurants because I felt like a nuisance to the patrons and the staff. I got frustrated, feeling rushed by the crowd through the larger venues.
Sometimes the obstacles are the work itself. Even before ArtPrize started, I had already been inundated with news stories of a giant bean bag posed to set a world record. It is off-putting to see so much attention given to only the spectacle of the size of the entry when even the submission page has no content. Potential voters are reacting, commenting and sharing on social media and getting excited to see a piece that doesn’t even bother to create a pretense of artistic merit. This is discouraging art and glorifying spectacle.
None of this means the art isn’t there. It very much is.
Kendall College of Art and Design (KCAD) stands out in particular. The Fed Galleries presented a meta-show within ArtPrize drawing attention to the same flaws that have been circling my head.
“Society of Spectacle,” the pointedly-named six artist show restored my faith in the art show, and my Shortlist reflects the importance of curation and respect for art. KCAD gave me the resources I needed to appreciate the great art inside their gallery that I couldn’t find anywhere else.
“Commuters” by Jay Pingree, at Palatte Coffee and Art
This piece is humble and overwhelmed by the venue and other art, so it’s easy to miss.
Simple and honest painting, no gimmick, no bells and whistles, just paint on canvas. The use of broken line and texture and out-of-focus aesthetic grabbed my attention and pulled me in. Once closer the paintings feel distant and elusive, like the background subjects pulled from photos and given their own space. Without the busy backgrounds they seem to originate from, they are haunting. The presentation is as clean as the work, with no statement that I could find. This is a positive—I universally feel allows the art to speak for itself. In this particular case, the lack of statement lends more to the intrigue of who these subjects are and to where they are disappearing.
“Pressure #1” by Jan Nelson at Women’s City Club
I like the colors and the lines. I have no flowery speech for this piece; it calms me and I enjoy looking at it.
“Two-Way Protocol” by Zane Miller at The Fed Galleries, Kendall College of Art and Design
This piece is fun. I didn’t bother with the statement. The name of the collection at the venue is “Society of Spectacle” which says enough to satisfy me. Two cubes suspended from the ceiling constructed of two-way mirrors with an array of lights that fade in and out, allowing you to see an infinite reflection of yourself when on, and an almost distant and faded view of people in the room or in the other box when off. I was the spectacle; I was the spectator. Between enjoying the simplicity of the cool factor of an endless reflection, I made faces at my girlfriend. I rarely feel any need to understand a piece—I just want it to be interesting or pretty, and ideally stir up some sort of emotion. In this case that emotion was wildly entertained.
“Object-Orientalis” by Eva Rocha at The Fed Galleries, Kendall College of Art and Design
This piece has a clear humanitarian message that cannot be missed. It’s refreshingly incorporated into the art without a shocking gimmick like the gore or nudity we have become accustomed to, and the installation serves as a testament to art’s ability to convey thoughts, messages, and emotions. There are many crates skewed about a hallway as if they were cast aside unceremoniously. I only noticed two at first and nearly jumped when one started moving. I was intrigued and spent time trying to figure out if the animation was triggered by an infrared beam or motion sensor, but stopped caring as I realized that the women depicted were cramped in the crate and their motions were labored and fearful. My focus turned to anxiously awaiting the next motion, wondering to myself how painful it would be, and almost feeling shameful for staring. The various forms of packaging on top of the projections drive home the commoditization of humans without exploiting sexuality. I appreciate how the Rocha trusts me to understand that on my own. It’s an uncomfortable piece in every aspect, right down to having to walk through them all in a dark hallway one set at a time.
“DAY for NIGHT” by John Naccarato at The Fed Galleries, Kendall College of Art and Design
There are many layers to this project. An augmented reality phone app, a scavenger hunt across the city, a textual story, music, and a beautiful series of photos. I downloaded the app, attempted to help other people do the same, and even offered up my precious personal space to let other people look over my shoulder at the AR blips. I got frustrated that no one cared, as if they actively avoided giving it a chance. This was, after all, the rare example of a gimmick flawlessly executed.
The 23 prints lining four walls are part abstract and part concrete, a flood of line, light, color, and form. My favorites have a watercolor and black ink degree of saturation contrast. Despite all the variety from piece to piece they are harmonious. I bounced back and forth between them comparing and contrasting. Like other installations in the venue, the dark rooms and ample space along with the barely audible music allowed me to lose myself and indulge in something beautiful. I will return to engage in the AR aspect, but not before soaking in the prints a second time.
As you can see from my list of five works in my own Shortlist, with three of the five coming from KCAD, The Fed Gallery by Kendall College of Art and Design was a clear haven for me.
It did everything right.
Each work inside was excellent, and it provided all the necessary services for the viewer to appreciate it. Other venues should take note and strive to to replicate the experience of “Society of Spectacle;” ArtPrize organizers themselves would be well served to encourage and support other venues in order the elevate the event. With more work like The Fed Galleries, it is possible to take “the world’s largest art competition” and expand it into the world’s grandest art show.
This article is the fourth in a series with local artists and art lovers revealing who they would be choosing as finalists in ArtPrize 9. Follow along here to see more throughout the week.
