September 25, 2014

"3rd Order Readymades" (Part 4)

Conceptually combined commodity objects, 3rd Order works comprise nearly a third of the exhibit, and I take this as a positive sign in the transitional development of the humble readymade in the 21st century. The combination of commodity objects, itself a remnant of the Surrealist theory of juxtaposition, can awaken subliminal meanings in the viewer, infusing the objects with reverie, apprehension or humor.

Individually, the 3rd Order artists bring varying skill-sets to the game: some couple a walker with ab-cruncher (Renee Regan), or Toast electronic devices (John Cairns). Others use their titles as punch-lines; Anne Mourier mounts a pair of domed plate covers on doilies to recall My First Bra and M. L. Van Nice’s dried fruit in a box suggests that it’s Altogether Too Late for the Pratfall. Chee Wang Ng offers 108 Global Rice Bowls in the exhibit’s only video, featuring a harmonic succession of differing white bowls, each heaped with rice and accompanied by a single chime. Adrienne Moumin puts her Baby Shoes in Cage; Michael Hyman makes Pop Art with a crushed Coke can and a pristine Pepsi badge; and Alex Mayer installs a double-threaded screw in the business end of a pencil and screws the pencil into the gallery wall.

Two 3rd Order artists stand out in particular. Ruth Lozner demonstrates her respect for the readymade’s legacy in Autumn Landscape Somewhere, a piece that honors the “rectified” idea of using existent artworks to comment on art, like L.H.O.O.Q. Her brilliance lies in how she adds a “paint-by-numbers” template to partially mask her “Picture Craft Oil Painting” readymade’s stale fawns-in-nature cliché, setting up a subversive play between subject and object.

Travis Childers’ Stapleshirt displays his understanding of the visual power of juxtaposition, and also his obsessive adherence to repetition. A work of intellectual rigor and dexterous athleticism, this shirt is both homage to, as well as critique of, punk fashion and design. Further still, his readymade is a symbolic nod to two heroic Conceptual Art projects in the decades since Duchamp — On Kawara’s date paintings and Roman Opalka’s Infinity series — where both artists conceived Herculean tasks to devotionally pursue.

[NEXT WEEK: PART 5, “4TH ORDER READYMADES”] 

IMAGE: Travis Childers, Staple Shirt, 2012; white shirt, staples, gel medium; 23x32 inches; © Copyright by Travis Childers; photo by MCB.

GALLERY TALK: Join curator, Mark Cameron Boyd, for his talk about Readymade@100 this Saturday, 9/27, 4:00 - 5:00 pm; info & directions here.

September 19, 2014

"2nd Order Readymades" (Part 3)


These objects are presented with an “assist” or additional intervention by the artist. Some Duchampian scholars designate further categories of readymades “aided” or “rectified” but I view all three types as 2nd Order. Duchamp’s “assisted” readys are Bicycle Wheel and With Hidden Noise, while his “rectifieds” include Pharmacy and L.H.O.O.Q. Whether “assisted” or “rectified,” these works have minimal interventions that maintain the inherent object’s characteristic.

Benjamin Kelley’s untitled piece, easily recognizable as a bisected auto body, reflects the artist’s view of how quickly art moves “between the relic and modernity.”(1) The speed at which today’s “modern design” is fossilized by advances in technology is simply conveyed in Kelley’s precise bisection of a 1971 Chrysler Newport, its partially exhumed body transforming the museum into a reliquary. Adam Farcus’s unassuming flashlight bears the weight and mystery of its title, We go to bed, but we don’t sleep too hard, coupled with its unassuming placement on the gallery floor that disguises the fact that it’s “on” and suggests poetic resonance for us.

Another view of the “unique relationship between the ancient and the contemporary” is Persian Spring by Eric Parnes, a “squat toilet” with the signature of “R. Mutt” in Farsi, referencing the anonymous signature Duchamp inscribed on Fountain. Parnes explores what he calls “Neo-Orientalism™” – a term that the artist has trademarked – and proposes that today’s “delineations between the East and West are increasingly blurred, with the cardinal points both exporting and interpreting their respective societies.”(2) Thus, his adaptation and “transliteration” of Duchamp’s urinal melds conceptualism’s global thrust with a rejection of cultural racism.

Rex Weil’s object exhibits a delightful degree of irony and wit as he references both critical theory and Duchamp’s infamous defacement of the Mona Lisa postcard. His Readymade Readymade (double L.H.O.O.Q.) is a pair of L.H.O.O.Q. posters that he purchased on-line and then “re-defaced the defaced image.” Weil’s work engages the issue of originality via this “copy-of-a-copy,” while also reminding us that avant-garde art can be inevitably absorbed back into commodity status through the Spectacle’s practice of “recuperation.”(3)


The majority of 2nd order readys in Readymade@100 evolve with a simple “assist” from the artist. With reliable validation from the tried and true pedestal context, Frank Fishburne’s God mounts a motorcycle fork wrench to a base, Gary Orlinsky mounts a hand-turned Crank, Robert Braczyk mounts a Pike Pole Head, while Alexander Ney’s Intertwined wraps tangled LAN cable around a shaft. Other “assists” are more complex: Cody Arnall bolts two shovels together, a clever reference that mirrors Duchamp’s snow shovel; Chris Chernow’s balloons are popped, stretched, and nailed to the gallery wall; and Rodolphe Delaunay’s Delay props multi-colored candles in a corner, each one burnt down 8 minutes, 19 seconds—the amount of time it takes for the light of our sun to reach earth.

One mind-bending example of how far an artist can take the “assist” can be found in Jeanette May’s archival pigment print of a Fox, an off-the-shelf plush toy, discarded or dropped by its “owner.” Such an object’s absence from our physical site becomes ritually transfixed within May’s photo-limbo narrative, and its supposed plight is further enhanced by our anthropomorphic tendencies to provide this fox an identity as well as a “story.”

[NEXT WEEK: PART 4, 3RD ORDER READYMADES]

IMAGES 
Top: Jeanette May, Morbidity & Mortality: Fox, 2013, archival pigment print, 24x36 inches; photo courtesy of the artist; © Copyright by Jeanette May.
Bottom: James Cole, Bidet, 2014, prefabricated plastic water gun, 18x6x5 inches; photo by MCB; © Copyright by James Cole. 

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1. Quote from undated statement by Benjamin Kelley.

2. Quote from undated statement by Eric Parnes.

3. “Recuperation is the process in which subversive ideas and images are commodified and incorporated into the capitalist machine/mainstream society/ruling discourse. This is problematic in that it allows radical ideas and images to become commodified and therefore carry no subversive power. This relationship is exemplified especially with propaganda as well as with famous avant-garde artworks and their current mediation (think Duchamp). The spectacle’s power of recuperation remains something artists who are looking to challenge society will have a constant battle with.” Quote from Madison Killo; “The Spectacle’s Play With The Subversive;” March 27, 2012; https://mubi.com/reviews/25973    


September 13, 2014

"1st Order Readymades" (Part 2)


An object, usually singular, that is virtually an “off the shelf,” commodity item that is designated as art by the artist within the context of an institutionalized display; Duchamp’s Bottle Rack, Fountain and Trap (a coat-rack) are prime examples.(1) These unaltered or “pure objects” display the closest conceptual rigor and allegiance to Duchamp’s invention.

At first glance, Three standard lossages, an “osteological specimen” by Ana María Gómez López, suggests a moderate takeaway on the readymade’s power of contextualization. However, these “bones” are 3D printout replicas that have a “potential for commercial circulation, as their accompanying .obj files can be made rapidly available on fabrication websites.”(2) Gómez López riffs on Duchamp’s Three Standard Stoppages, a work of chance placement of string, to underline her idea that an individual’s bones rendered universal through commodification are re-contextualized (again) as an “art object.”

Such 1st Order readymades as Olga Alexander’s McCall’s block & lot #4620 (a jacket pattern), Larry Lairson’s Untitled (pole) and Angela Smalls’ Silver Raindrops, a pile of hex-head bolts, negate the essence of an object’s privileged usefulness via the artists’ choices and our institutional validation. Simultaneously, these objects both are and aren’t “art.”

Many of the 1st Order readymades rely on titles to maximize their frisson. Andrew Simmons unnerves us with his title proclaiming that a razorblade holds the Cure for Human Suffering, while Bill Conger promises that the wearer of his sunglasses will have the Deepest Darkest view. On a lighter note, it may be a stretch to connect Joseph Orzal’s Picasso, baby t-shirt to Reaganomics but we can easily envision Kristin Richards’ framing nail strips laid edge-to-edge on the floor as a Rug.

[NEXT WEEK: PART 3, “2ND ORDER READYMADES”]

IMAGE: Detail of Rug 001 by Kristin Richards; 31,876 framing nails; 8x12 feet; photograph by the artist; © Copyright 2014. 

UPDATE: Michael O'Sullivan's Art Review at WAPO.
 
  
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1. Duchamp wrote titles and/or signed some of these but most scholars do not view these inscriptions as alterations. In “The Unfindable Readymade,” art historian Hector Obalk says Duchamp gave us only 10 “pure objects” as readymades; http://www.toutfait.com/issues/issue_2/Articles/obalk.html

2. Quote from undated statement by Ana María Gómez López.