Research

hug it out!

Making exhibitions requires a lot of teamwork, so I’ve been practicing sharing epic high-fives. Just the other day, K, R and I shared a spinning jump triple. That momentary gesture turned a feeling of mild accomplishment into floaty elation.

In “Evidence That Little Touches Do Mean So Much,” (NYTimes.com, February 22, 2010) Benedict Carey examines the psychology and neuroscience of meaningful touches.

Momentary touches, [researchers] say — whether an exuberant high five, a warm hand on the shoulder, or a creepy touch to the arm — can communicate an even wider range of emotion than gestures or expressions, and sometimes do so more quickly and accurately than words….

“We used to think that touch only served to intensify communicated emotions,” Dr. [Matthew] Hertenstein [a psychologist at DePauw University in Indiana] said. Now it turns out to be “a much more differentiated signaling system than we had imagined.

As an artist working with installation and phenomenology, I’m really interested in embodied experiences. As Lakoff & Johnson explain in “Metaphors We Live By,” metaphors are not merely linguistic devices, but cognitive tools; we think using metaphors grounded in our physical experience.

High-fives express shared excitement or accomplishment (“Nice one!”). It conveys that this experience is good, and yay for sharing it with me. It is harmless hedonism, of taking pleasure in the present. It’s dorky, hip, sweet, and maybe a little ironic, but maybe also infused with feel-good, unabashed enthusiasm (like Ugo Rodinone’s “Hell Yes!”). I hope I never feel too old to share a high-five.

As usual, I’d like to participate in an art world characterized by community and reciprocity. Supportive touches express mutuality; maybe more curators, artists, critics and collectors should be hugging it out.

…In the brain, prefrontal areas, which help regulate emotion, can relax, freeing them for another of their primary purposes: problem solving. In effect, the body interprets a supportive touch as “I’ll share the load.”

“We think that humans build relationships precisely for this reason, to distribute problem solving across brains,” said James A. Coan, a a psychologist at the University of Virginia. “We are wired to literally share the processing load, and this is the signal we’re getting when we receive support through touch.”

Carey also quotes Dacher Keltner, a professor of psychology at the University of California, Berkeley, and the author of “Born to Be Good: The Science of a Meaningful Life.” Incidentally, Keltner’s mentor was San Francisco psychologist Paul Ekman, who was profiled by Malcolm Gladwell in an eye-opening article about emotions and facial expressions (“The Naked Face,” New Yorker, 2002). If you’ve heard of the wide, genuine, impossible-to-fake Duchenne smile, then you’ve been touched by Ekman’s influence.

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Community

A sequence of images of inventions and rubbish that strike my fancy and stoke my curiousity.

IAN BURNS, Glacier, 2008, Found object kinetic sculpture producing live video and audio Assembled size: 59” x 24” x 21” Edition of 5. Source: Nettie Horn

Ian Burn’s Glacier is the press image for Sensescapes at Nettie Horn (London) 2/27-3/28, a group exhibition that purports:

Despite the age and universality of this subject, our environment or “landscape” is still a source of investigation since our conscience plays a role in shaping our processes of representation of these environments. In order to develop this reflexion about how we experience “the world” around us, the exhibition will deal with the notion of “sensescapes” – a sensory experience evoking the relation between space and senses, geography and mind.

Installation view of Theory of a family by Ginger Wolfe-Suarez. Source: Silverman Gallery

Still yet to span the gap between Oakland and the Tendernob, but Ginger Wolfe-Suarez‘ exhibition, Theory of a family, at Silverman Gallery in San Francisco 2/5-3/13 looks utterly fascinating. Sign me up.

Installation view of Graham Dolphin's work at Spasticus Artisticus. Source: Ceri Hand Gallery

Graham Dolphin’s work (pictured) is just some of the slightly ludicrous, Mike Kelly-ish artistic production on view in Spasticus Artisticus,
Curated by Jota Castro & Christian Viveros-Faune at Ceri Hand Gallery
(Liverpool) 1/12-1/27. Can’t make it out to Liverpool? See large images of the exhibition online. Photos can’t replace first-hand experience with art objects and videos, but if the other option is missing the exhibition entirely, I’ll take the photos.

Jeppe Hein, Mobile Mobile, 2010, Exercise bike, steel construction, chain drive, mirrors, Variable dimensions. Source: NicolaiWallner.com

Jeppe Hein’s Millieu Social at Galleri Nicolai Wallner (Copenhagen) 1/29-3/20

A live situation by Pierre Huyghe. Photo: Ola Rindal. Source: E-Flux.com

This mysterious and lovely photo promoting A live situation, an ongoing project by Pierre Huyghe, consisting of a series of situations performed on 10/31/09, 2/14/10, and 5/1/10.

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Art & Development

Recent, future, random

A random round-up of things I’ve seen or are looking forward to:

RECENT

Robert Irwin‘s rambling, 50-MPH monologue at Mills College. I couldn’t sum up what he said — comparing Modernism to a cup of Coke, and proposing an array of realms of art rather than a hierarchical pyramid — but I’m pretty sure it was brilliant. I should probably re-visit Lawrence Weschler’s biography of Robert Irwin, Seeing is Forgetting the Name of the Thing One Sees after all the other books I’m reading, or intending to read (Ranciere’s The Future of The Image and Beyond Visual Perspective by Gaetano Curreri-Alibrand. Yikes!). Cheers to Mills for bringing such an influential and erudite artist to the East Bay.

Valentine’s Day Celebration at Glide Memorial Church.
I’ve lived in the Bay Area all my life, but I am taking time to appreciate quintessentially San Franciscan experiences like visiting Glide, a Unitarian church whose openness, political activism and community service is a prime example of powerful faith-based progressive work. M and I attended the service on the suggestion of a friend, who was performing an excerpt of The Erica Chong Shuch Performance ProjectsLove Everywhere, a beautiful, tender dance/theater/music performance on love and marriage equality—the civil rights struggle of our time. It was really profound to have the time and space to celebrate love in all of its manifestations—unconditional love, the love of one’s community, to love fiercely and courageously—on Valentine’s Day. (How many red teddy bears does anyone need anyway?) More often, what’s needed is a reminder to look beyond your immediate situation towards community, and to be in spaces where you are accepted as you are. To love and be beloved.

Collaborative installation by Chris Bell, Elaine Buckholtz, and Floor Van Herreweghe at SF Arts Commission Window Space, 155 Grove Street, San Francisco
For Chain Reaction 11, artists were invited to nominate other artists to exhibit at SFAC. One chain went beyond the call and developed a collaborative installation that fills the window site with a sculpture, video and light work, and spills onto Grove with a moody, Sam Shepard-esque musical component. It’s wonderfully unexpected and surreal, and it’s one of my favorite art things that I’ve seen of late. I urge you to visit it, especially at nighttime. It’s on view 24/7 at 155 Grove Street through May 16.

Future

Friday, February 19, 7-10pm: Opening Reception
Blow As Deep As You Want to Blow: New Work by Michelle Blade

Triple Base, 3041 — 24th Street, San Francisco
Exhibition: February 19 – March 21, 2010

Weird bad paintings; don’t come to this if you leave your sense of humor at home.
Denim on Ice: paintings by Keith Boadwee / Erin Allen / Isaac Gray
Steven Wolf Fine Arts, 49 Geary St., Suite 411, San Francisco
Exhibition: February 19 – Mar 20, 2010

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Values

Thank you for showing me what not to do

Ken, my printmaking professor, was great because he’d often demonstrate what not to do. Much of the time, he didn’t do it on purpose. In showing how to clean up an inkwell, for example, he might fumble a putty knife or splash the mineral spirits. But the gaffs were common, and it taught you how to recover when you invariably made the same mistakes. More importantly, Ken’s teaching was infused with kindness and good humor, and his unconventional ways were ultimately effective and valuable.

I am a big proponent of artists setting goals and identifying role models: Who do you look up to and why? Are they successful? Happy? Do they treat people around them well? Do they look like they’re having fun? Identifying and answering these questions for yourself helps to shape a vision for the kind of life in the arts that you want to lead.

On occasion, there are opportunities to identify negative traits and behaviors that you would not like to emulate. Perhaps these come courtesy of an unscrupulous colleague, who abuses the art field’s unsanctioned nature to claim a status that wasn’t actually gained. Or maybe a supervisor whose treatment of colleagues is unethical or morale-killing.

I choose to view the art world as a series of communities populated by bright, hard-working individuals who are in it because they appreciate art and want to share their enthusiasm. There are, unfortunately, unsavory individuals who would prove me wrong.

In the book “Why Smart Executives Fail,” Sydney Finkelstein, of Dartmouth, observes that “spectacularly unsuccessful” people (mere failure doesn’t qualify; you have to wreak havoc and ruin lives) have certain traits in common. These people see themselves and their companies as “dominating their environments.” They demand total allegiance and have the answer to every problem. (James Surowiecki, “Local Zeroes,” New Yorker, March 28, 2005)

These people are exceptional. It’s up to the rest of us to minimize the damage they do, and to defend the perception of artists, arts workers and the art field. We do that by upholding our values, and being vigilant, accountable, and optimistic.

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Art & Development

Invisible Venue Intervention + Paper for CAA Chicago

Christian L. Frock presents
INVISIBLE VENUE

“Hello! My Name is…” a site-specific intervention with contributions from Chris Basmajian, Michael Damm, Anthony Discenza, Charles Gute, Jamie Hilder, Scott Oliver, Susan O’Malley, Zachary Royer Scholz, Zefrey Throwell, Christine Wong Yap

College Art Association 98th Annual Conference
February 10 – 13, 2010
Hyatt Regency Chicago
151 East Wacker Drive
Chicago, Illinois 60601

Public Art Dialogue Session:
Site Variations: The Shifting Grounds of Public Art
Featuring “Invisible Venue(s): Alternatives to the Institution” an overview of Invisible Venue by Christian L. Frock
Friday, February 12, 9:30am – Noon
Regency D, Gold Level, West Tower, Hyatt Regency Chicago
Chaired by Dr Harriet F. Senie and Dr Cher Krause Knight

“Hello! My Name is…” is a site-specific intervention of artist-created conference badges designed for anonymous distribution during the College Art Association 98th Annual conference in Chicago. Drawing on the required reading of the ubiquitous name badge in conference settings, contributing artists have created messages in response to the context of this academic and social networking event for art professionals. Badges will be anonymously distributed within the conference and arranged on tables in the standard grid fashion typical of a reception area. Each badge will be printed on the back with “This is public art. www.invisiblevenue.com” to direct attention to complete project details, documentation and a full suite of contributions online.

“Invisible Venue(s): Alternatives to the Institution” is a paper presented by Christian L. Frock in the conference session “Site Variations: The Shifting Grounds of Public Art.” The paper will be published in digital format by the College Art Association and will be republished in Issue 9 of Art Practical on February 25. A full length version of the paper, with images, will be accessible on www.invisiblevenue.com and available for distribution upon request.

The College Art Association Conference is the world’s largest international forum for professionals in the visual arts, with an anticipated attendance of more than 4,000 artists, art historians, curators, critics, and arts professionals. This is a ticketed event.

For more information, please visit christian

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Invisible Venue collaborates with artists to present art in unexpected settings. www.invisiblevenue.com

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Art & Development

Bright light

There’s so much to like about Bright Light, Vancouver’s Public Art Festival:

A light in winter.

Its economy.

The simplicity of black white and yellow. The design is elegant, understated, progressive, with charming touches.

The map is functional and cute. It’s not overburdened with text.

The programming: great art, community engagement, conceptualism, sophistication, accessibility, site-specificity, public interaction….

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Art & Development

Eliasson on spectatorship and perceptual experiences in galleries

One of the predominant tropes of the artists in Il Tempo del Postino is their assertion of the socialising and empowering agency of art, which has long been an aim of theatre of the left, from Brecht to Invisible Theatre, developed by Augusto Boal in the 1970s, when social-issue plays were staged in public places, such as shopping centres, often drawing nonperformers, or ‘spect-actors’, into the debate….

The efforts of a number of these artists to orchestrate socialising contexts have been criticised in recent years for being patronising or for actually stultifying exchange.

[Stultifying? See Ranciere.]

A distinguishing factor of Eliasson’s work, though, is that he doesn’t consider language the primary socialising agent. His installations and events operate on the audience’s sensory perception, prompting not a conversational exchange but a subjective psychophysical experience. Although, as Eliasson points out, there is no unmediated neutral state of perception in a gallery, as by definition any aesthetic proposition demands sensory manipulation, he tends to expand effect beyond optical or linguistic cognition. Utopian claims for art creating solidarity through authentic communal discourse become redundant when the subjectivity of perception becomes the means as well as the subject of an artwork. Collectivity, suggests Eliasson, is more about the production of difference, and yet there remains a misperception that representation in the form of language creates a productive space, when in fact it simply describes a space that remains uninhabited. As it was for eighteenth-century romantic ironists, such as August Wilhelm and Friedrich Schlegel, for Eliasson it is the employment of the gap between representation and the actual world, between the sun and the evocation of a sun or an audience and their reconstruction, that generates poetic effect.

Sally O’Reilly, “Olafur Eliasson: Time is on his side,” Art Review, September 14, 2007

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