4.03.2011

weekend periphery.



Last night I visited one of the senior thesis exhibitions at the Art Academy of Cincinnati (which I attended from 03-07). I enjoyed a decent half of the work on display, but I got particularly involved in the video works of Rian Hunter.



Rian was an intern at U·turn last year. She is very quiet and was shy--at least around me--and her statement accompanying these works mentioned that these and other personal characteristics were involved in this work's conception.

The format--human figure performing action squared to a camera recording the action--continues a kind of displaced performance art that early John Baldessari and more recently Kate Gilmore have explored. Or as one of Hunter's faculty mentioned last night, Bruce Nauman and Vito Acconci. Basically it is a simple form of video performance art. And like Acconci, Hunter puts her own body and personal space through the paces of physical actions, sometimes exposing herself to duress, or at least aggravation.

I've no problem saying that her thesis work struck me as much stronger than where I was in my own studio/post-studio practice when I were her age.

The videos varied in length, some only a few minutes long, and other more involved activities taking nearly an hour to cycle through. The [conceptual] flicker of these different time spans sharing a darkened gallery space is of interest to me.

Another aspect of her installation that I noted was her resourcefulness of using very disparate technology to present the five or so videos, and how cohesive the presentation felt. The arrangement of various TVs, projectors and gallery ottomans had a order like a manicured garden. on obstacle for young artists working with video (or really any artists without a lot of funding) is the technology needed to present a set of their works. Often, it is a gumbo of borrowed televisions, monitors, projectors, etc. And in Hunter's case, it was no different. But I believe she struck upon some poetic balance in what she exhibited and how.

the simplicity and strangeness of the tasks Hunter set for herself gave me the uncanny sense that she had extended her inner life just enough beyond her skin to make it onto her body through repeated (sometimes excruciating) gestures.



on so there we are. thanks to everyone who stopped by Brighton last night. Suzanne Silver's installation Broken English is a marvel. And I couldn't be happier with how our project with Matthew Deleget and Ellen Nagel came together. Both shows up through April 30, with gallery hours on Saturdays from 12-4.

love your sunday because at least so far there is sunshine,
m.





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