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Posts tagged fluxx gallery
Images and Things

Emily Newman's Sightings, FLUXX Gallery 

February 2013

“Visible and mobile, my body is a thing among things; it’s caught in the fabric of the world, and its cohesion is that of a thing. But, because it moves itself and sees, it holds things in a circle around itself.”

― Maurice Merleau-Ponty

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Close up of “The Misperception of Objects On Carpet" Photo: FLUXX

Review by guest contributor Benjamin Gardner

March 5, 2013

My first experience with Emily Newman’s exhibition at FLUXX could be taken as a simplistic read, though I think that it is actually a poignant one; it feels like Newman is invested in making work about what predominantly happens in our peripheral vision—the fleeting moment that you think a brown paper bag is actually a small mammal, the perceptual mixing of images (what is reported to our brain), objects (the three dimensional-ness of that image in how we can navigate within it), and meaning.  If there is a rabbit in my periphery, I might walk more slowly as to not scare it away.  If there is a brown paper bag, my reaction is obviously much different, and hopefully I walk over to it and pick it up for proper disposal or reuse. 

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Close up of "I Thought It Was a Bunny' Photo: FLUXX

The way that Newman’s work does this, however, is by asking the viewer to look on an instinctive level that is counter-intuitive in the gallery setting.  More often than not, we are forcing meaning and understanding upon work in a gallery.  Newman’s work in the exhibition unfolds infinitely when one can look at them with normal cognition—the looking and thinking that we (within Merleau-Ponty’s "fabric of the world”) accomplish while driving, walking, and multi-tasking.  This unfolding is found in the meaning located within the context of the ways that we see objects and assign meaning to their form.  In the piece Misperception of Objects on Carpet, for example, not only do the three sculptural forms sticking up from the carpet have their own image/objectness, but their cast shadows also create an additional image of each; were the viewer looking only at the shadows, those shadow-images could reference an entirely different form.   What we anticipate would make a shadow on a carpet (which is domestic and familiar) is undoubtedly different than the crab claw or jawbone and teeth that are actually casting the shadow.  The piece is both familiar and out of place; quite stunning and ephemeral, and creates a sort of loop of perception and interpretation. 

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Installation shot Photo: FLUXX

Photography, too, is an added complexity to the relationship between image and object; the camera pretends that it understands the three dimensional space which we inhabit but it only does so by an averaging of light and shadow.  In the installation of photographs titled Pilgrimage and the single image Mistakes on Salt Lake Newman is working with the image as a signifier of reality in a physical manifestation.  It smoothly takes some of the cognition required for the three-dimensional work and applies it to the material of photography.  Additional image-reality relationships are formed in Pilgrimage by using two images, separated by a border, of the same scene and different manifestations of symmetry throughout the piece.  In most places the gold and silver leaf work perfectly—snapping the viewer out of a believable space, but in a few areas it was more difficult for me to make the leap and see it as more than material addition. 

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“Beauty In The Daily Pick-up" Photo: FLUXX

Newman’s exhibition is incredibly well thought out and transforms the gallery space in a way that many artists yearn for—by asking us to be cognizant of the work in a different manner.  The pure ephemerality of the exhibition is incredibly fitting; we don’t always see Beauty in the Daily Pickup of dog feces, but aesthetic moments, images, and objects are a standard structure of our understanding of reality.  

Benjamin Gardner is an artist living and working in Des Moines, Iowa.  He is also an Assistant Professor of Art + Design at Drake University where he teaches drawing classes as well as courses that explore personal identity theories, existentialism, and ideas of place, space, and living.  Additionally, Ben spends a lot of time growing food, looking at the sky, and reading about folklore and superstition.  He maintains a website that collects artist’s writings (Methodsofbeing.com).  You can see Ben’s studio work at benjaminagardner.com

Under Control and Measured

Tatiana Klusak’s Under Control, Fluxx Gallery

January 2013

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Gallery view of “Hardworking Mechanism” and “The mustard lover’s mustard." Photo Jon Pearson.

Review by Jon

January 10, 2013

In the sculpture and video work of Tatiana Klusak we are given the chance to confront questions relating to identity, work, and valuation measurement. The work is cerebral but deeply rooted in a physical manifestation of the concepts through the creation of devices whose purposes, though wholly relative to a need, are ridiculously unwieldy. The work affords us the opportunity to dialogue about our relationship with work, and  socially acceptable, or productive norms. 

The piece "Hardworking Mechanism” from the series “Forcing Devices” explores not only a societal need for production and the faceless worker to complete mundane tasks, but the restrictive and sometimes painful labor which is derivative of such practices. The piece was labeled with the notice to “please touch, handle with care,” so I strapped myself in. The immediate sensation of immobility as I did so was followed shortly by a testing of my limitations. I was able to make small jerky motions with my feet as the leg armatures were built to swivel and step, albeit slightly. I was also aware of the pieces of metal that I was strapped to digging into the backs of my legs as if they were ill suited to a person of my stature. The discomfort and sense of immobility that I experienced seemed to be a physical manifestation of the psychological discomfort I sometimes feel in carrying out my day to day tasks as a worker bee.

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“Mustard cake" Photo Jon Pearson.

"The mustard lover’s mustard,” is another meditation on the mundanity of labor with a twist. In this piece Klusak is exploring the notion of being both the worker and the overseer. The artist is seen deliberately and measuredly portioning and subdividing slices of bread with a pair of scissors. From time to time the measurement of the labor is insinuated by referring to a stopwatch and penciling down results. The pieces are given squirts from a mustard container and eventually end up being pounded into a cake form. Apparently mustard makes great cake glue, as the cake is on display in the gallery as well. The tongue in cheek use of silly materials used in the creation of a silly product are balanced by the overall seriousness and intensity with which the worker/overseer produce the product.

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“RFM (Rod For Measurement)” modeled by Isaac Ewart Photo Jon Pearson.

The “Rod For Measurement” Is coyly intended to be a tool with which a person can measure and compare traits in another person. The piece addresses and makes a case for the need for such measurements of arbitrary skills and character traits, stating that it “resolves mankind’s inability thus far to thoroughly and accurately measure humans. The writing that accompanies this tool adds to the complexity of the ideas by inventively creating acronyms synonymous with the use of the device. The artist is taking liberties here by dictating important characteristics that could potentially become the total sum of a person. The writing also alludes to a method of notation that was developed to sort the data measurements of the RFM. See the text below for a good read.

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Writing piece "RFM" Photo Jon Pearson.

In sum, this show presents a depth of substance and an integrity that deepens when the artist’s statements and the work are explored thoroughly. The pieces themselves contain many didactic elements. One element of the show that seemed unnecessary was the inclusion of two lithographic prints which slightly pertained to the sculpture but seemed an after thought. See more of Tatiana’s work and writing here.