Art Notes
"Crisis" at ATHICA
originally published February 16, 2005
Curators Caroline Carson and Lizzie Zucker Saltz have put together an exhibit of "artwork addressing illness, surgery and recovery." The exhibit consists of works by ten artists, whose entries were selected from a national call for work. Viewers are afforded a unique perspective on health, suffering and the human condition.
Ruth Adams
Ritual: Upon first entering "Bodies in Crisis," Ruth Adams' work "Unremarkable" confronts the viewer, as if to say, "Can you handle this?" The immediate shock of what lies ahead seems unbearable. Rows of the same photograph, with only subtle differences between them, stretch out on the walls. The same image of an unhappy woman stares back again and again. And certainly, this is the artist's desired effect. Adams took a picture every day, beginning on the first day of her chemotherapy treatment, and ending on her last. But when halfway through the task of viewing the artists' ordeal, the monotony begins to provide comfort, anticipated pain morphs into understanding. It appears that a routine can be enjoyable, even if the components are hard. When approaching one of her large-scale Polaroids, there is no doubt it will be a self-portrait. Though there are subtle exceptions (like Thanksgiving Day, which shows the artist surrounded by family and/ or friends), most are simply the artist, honestly and openly exposed in front of the camera. Not exposed physically, but in an emotional sense. The ritual of taking a picture with the same camera, in the same place, typically, using the same backdrop, provides a steadfast dependability that transforms a devastating experience into an opportunity to grow. Adams has offered her experience to the viewer successfully. And as Caroline Carson writes in her curatorial notes relating to the artists' experiences, "the focus is on transformation rather than resignation."
Surfaces: Malena Bergman's sculptures provide a welcome respite from the direct reality and visual starkness of Adams' photographs. Bergman's pieces are open to interpretation. She presents two sculptures that become bodies of their own. These are wounded bodies, yet they invite a healthy interaction. "Listen (Hear)" allows the viewer to listen to the hollow thump of a beating heart through medical tubing, an act that provides an element of solitary exploration. It is not clear what is to be heard, and the beat is only audible when the tubing is placed near the ear. Earthworms transcend their mortal case in "Listen (Hear)." Dried and suspended, they become abstract objects of curiosity. Ron Lambent's "Sterile Curtain" is reminiscent of Eva Hesse. He uses latex to create small components the size and shape of fingerprints, which he strings together. The latex mimics flesh, and the cut pieces provide an uneasy element similar to Bergman's dried suspended earthworms. Roger Reeves' "Wounded Walls" are a subtle gentle reminder of patched existences. Reeves sewed large stitches into canvas and then buried the canvas in the wall by applying plaster over it. The result is a compelling residue.
Mobility: In Angie Grass' hands, crutches and canes become vehicles for playful alteration. Devices typically used to allow mere locomotion, become speedy instead of slow, painful or impeded. Crutches usually help one simply be mobile. But Grass' crutch with wheels can be the scepter of a super-hero. The work lends itself to the narrative. Grass' "graphic novels" "The Pain" and "I Can't See My Eyes!" add force to the story behind the "Wheel chair," "Wheel cane" and "Wheel crutch." More of Grass' work will be available for viewing and hearing this weekend, at the Weather Radio CD release and listening party on Saturday, Feb. 19 at 7:30 p.m. Weather Radio, one of the musical projects of Angie Grass, will be showing multi-media projections from past shows, which are art forms of their own.
Observation: "Teatro Anatomico" by Cristin Millet, is a maze of an ellipse inside an ellipse inside a circle, a multi-layered piece by all definitions. When viewed from outside, the structure - soft panels of chiffon with printed images of historical representations of female anatomy - obscures the interior. After following a path to arrive inside the structure, the viewer is placed in front of an examining table serving as a screen for the projection of a hysterectomy. In place of the patient's head is the viewer's head, reversing the roles of observed and observer.
Drawing: "My Most Important Self-Portrait" by James Barany is a beautifully created stop-animation video of the artist and his chalkboard drawings, reminiscent of the South African animator William Kentridge. The drawings range from crude writing and numerical notation to elaborate portraits, and still-lifes of Burger King lunches. Barany's struggle with morbid obesity provides subject matter, but the dark beauty of the film surpasses unpleasantness.
Purification: Three other videos are on view at ATHICA. David Kasadorf has created a self-portrait in the same vein as Ruth Adams' work. His piece "Cowboy" is a 31-minute video of himself crying. Doreen Laperdon-Addison's "Journey" is a futuristic dance piece. Kevin Hoth has superimposed a surgical procedure over footage of himself practicing yoga in "Anterior-Cruciate-Ligament-Asana." "Bodies in Crisis" will be on display at ATHICA until Sunday, Mar. 6. ATHICA is located in the Chase Park Warehouses, and is open Thursday through Sunday. 208-1613, or www.athica.org.
Endnotes: Check Out There! for more information on ATHICA's upcoming events related to "Bodies in Crisis." Athens Recess Center is accepting donations for their art auction, and Out There! has the info! Keep an eye out for performances at Floor Space, next door to ATHICA. Floor Space is the new home of the Warehouse Collective.
Beth Sale
Get your art news to Art Notes! Email outthere@flagpole.com, and be sure to put "Art Notes" in the subject heading.
Beth Sale
-
-
Art Notes
The Ivory Tower
originally published February 9, 2005
-
If you are having problems with the site, or have questions or suggestions, please contact us here. Thanks!
Care to comment on this article? Click here!
You will be the first person to comment on this article.