When I decided to leave my “Public Private Art Experiments” outside for a long time, I knew I was taking the risk of losing them. So I have been pleasantly surprised at the long life my trees enjoyed with little human interference during 2014.
You can see them here in October’s snow. I hadn’t documented them for a couple of months, but I checked on them most every day. One fell down in December for which I made a temporary repair, but they continued to hang on. And I continued to meet people who told me they had enjoyed coming upon them. So I was pretty shocked on December 23, when this scene greeted me.
Completely gone without even a trace of wire. I checked the creek and all around the various paths I walk, but found nothing. This spurred into making the less traveled trek to my east creek installation. By this time I wasn’t really surprised to fine this.
The wire was gone and the vines were collapsed. I dug around for any remaining wire and found this.
My choice to leave my works unattended is part of the excitement of the experiment. I certainly didn’t want someone to take them, but I also view it as all part of the collaboration. If anyone knows anything about what happened to them, I welcome news.
Meanwhile my nearly invisible and much more subtle collaboration with vines remains safe.
You can tell by my frosty nose that it was still up during this recent cold spurt.
I hope the wire isn’t just being sold, but however the materials reemerge in the world is all part of the process of the work, and how viewers engage with something I call art.
2015 has arrived with my vow to keep my blog semi regular. My backlog of blog topics will start tonight with my Thanksgiving trip to Oklahoma.
The last thing I expected on this trip was to have an art rush. But through a serendipitous outing to the Fred Jones Museum of Art on the U of O campus, I picked up a new art publication called Art Desk, a striking publication published in OK. When I saw a terrific spread on the work of Orly Genger, I had to buy the magazine. Then when I actually read the article, I was ecstatic to discover she had a current installation in Oklahoma City, just thirty minutes away from the university. So my family and I excitedly headed out the next morning in near summer weather to a narrow strip of land near downtown OKC that was labelled Oklahoma Contemporary.
Orley Genger, a MFA grad of Chicago,and and undergrad of Brown, makes a series of knotted structures, often from lobster rope. The first work of hers that I saw in press was crocheted. But this and other installations have a more complex knotted structure.
In this photo you can see the color change in the predominately red-orange structure, so colored to reflect and celebrate the Oklahoma terrain. She paints her rope to achieve the desired color, with this shot showing previous blue not quite covered.
This installation seems as solid at cement, and uses a lot of rope.
Contrast it with the screen shot from a 2010 sculpture of hers.
I could write more but I’ve run out of time, so instead you can read this NYTimes article: http://www.nytimes.com/2013/05/05/arts/design/orly-genger-in-madison-square-park.html?pagewanted=all&_r=0
and visit her website: orlygenger.com
Enjoy and Happy 2015
More to come soon….
11/8/2014 is when this was written, but languished in the draft box until now.
I had hoped to visit Materiality: Paper, Wood, Cloth at the Robbin Gallery earlier in the month so I could encourage you all to visit, but life’s full schedule intervened, and I couldn’t get there until yesterday, its final day. Alis Olsen, Terri Power, and Kit Eastman pulled this show together based on their mutual processes of material driven art. Kit has a long history of lovely, finely crafted Katazome, or stencil dyeing on fabric. New to me were her pieces that incorporated embroidered texture. It is an addition I like.
I met Alis back in 1999 through the WARM Mentor Program and have felt an affinity for her work since then. Photographer turned sculpture, she works with wood often found on her property in Colorado, and plays with themes of humans’ impact on the environment, and trees in particular. She was eager for me to see her interpretations of quilts for this show after having seen my Japenese Beetle Lace: Birch, which also uses a quilt format. Alice cut squares of thin wood on which she had various fragments of vegetation, and connected them with twine.
Detail of one of the squares:
All of the materiality of the work stimulated me, but I became especially intrigued with the work of Teri Powers. I’ve seen very little of her work and this work was quite different from what I had seen. My favorite piece in the show was Nature of Plasticity , described as found objects and acrylic boxes.
Her cattail fiber and clay monoprints titled Sedimentality 1 and 2 captured the visceral appeal for me that I find in the works of artists who use primitive materials, such as outsider artist James Castle and art brut star Jean Dubuffet.
Kudos to these three women for pulling together an interesting show in this little gallery off the beaten track. I hope you’ll get to see some of these pieces elsewhere.