6 September 2017. My tutor suggested I have a look at a set within Allen McCollum’s (*1944, USA) famous surrogate paintings, basically empty frames painted in vivid colours and lined up in rows along a wall (McCollum, n.d.). Despite the connection my tutor tied (“where absence and shadow can speak volumes”), I was not attracted. The frames look rough, their colours haphazard. Looking at them again during a quiet minute they reminded me distantly of the multitude of doors leading to the childrens’ bedrooms in the great film “Monster Inc.”. In contrast to McCollum’s frames I find a real purpose to the doors besides serving as symbols for individual lives. Of course I can fill the absences in McCollum’s frames with whatever (shadows) I like, but this I can do with everything that is empty around me, so I do not really need the frames.
McCollum not only works with sets of blank frames, but also with multiples (similar but not the same) of drawings, sculptures or even collections of natural objects such as fulgurite tubes (glass lined hollow tubes formed where lightning strikes sand), which I was not happy to see either. I am having difficulties again with the lining up of multiples of objects into grids and rows, no matter how sophisticated the connection with some important human issue such as a discussion of the mass-produced versus individualized, the issue of a painting being an object representing itself and such like, in the late 20th century (ARTCenterMFA, 2015). At the risk of outing myself, again, as a philistine, the addressed issues feel vastly insubstantial to me in the face of the enormousness of the universe and the mystery of life. The produced objects are sometimes attractive, more often nice to look at, but this is where my interest ends somehow. I believe that most repetitive patterns look attractive to the human mind because they are aesthetically pleasing, but this does not automatically make them qualify as works of art. Is this the same sort of decoration my tutor saw in the first stages of my Assignment 2 umbrella project (Lacher-Bryk, 2017)? I am probably not the best person to judge here, because to me the umbrella is a multidimensional analysis of a highly personal legacy. However, I will be taking my own experience with McCollum’s work as a warning to myself, so that I do not wander, starry-eyed, into the same trap.
ARTCenterMFA (2015) Allan McCollum, Graduate Seminar 2/3/2015 [online]. Department of Graduate Art at Art Center College of Design, Los Angeles. Available from: https://vimeo.com/118767506 [Accessed 6 September 2017]
Lacher-Bryk, A. (2017) Assignment 2: “An Umbrella Project” [blog] [online]. Andrea’s OCA blog: Understanding Painting Media, 17 August. Available from: https://andreabrykocapainting1upm.wordpress.com/2017/08/17/assignment-2-an-umbrella-project/ [Accessed 6 September 2017]
McCollum, A. (n.d.) Allan McCollum [online]. Allan McCollum, New York. Available from: http://allanmccollum.net/allanmcnyc/ [Accessed 6 September 2017]
18/19/20 July 2017. Looking at the images my browser came up with when searching for Ellen Gallagher (*1965, USA) on the web, I got an immediate first impression of comic strips. On closer inspection I found this completely wrong, and only a very limited segment of her oeuvre, but her working in large series, the reduced palette with an affinity for yellow and grey and her style reminded me somewhat – but not exclusively – of a number of pop art painters. The above is but one of the many different styles and techniques Gallagher uses, many of these including collage, video, traditional and innovative types of printing and also mechanically working into the surface of her paintings (Gagosian, n.d.). In a series of videos Gallagher explains, among others, her keen observation of initially unwanted side-effect of her techniques, which over time may become central ingredients of the work she makes, e.g. trapped air bubbles which she then used to recreate biological structure. It was also an eye-opener to me to get to know how Gallagher approached a project of capturing the usually fleeting impression left by the activity of birds (Forster, 2014). In her subjects Gallagher often deals with racial and gender stereotypes as she finds them transported by the media (Tate, n.d.). At first I was not too much drawn to the appearance of her final pieces, but having listened to her explaning the ideas behind her work, I started feeling close to her unusual, highly sensitive, honest and witty ideas of making her intentions known.
Forster, I. (2014) Ellen Gallagher: Cutting [online]. art21, New York, 21 February. Available from: https://art21.org/artist/ellen-gallagher/ [Accessed 20 July 2017]
Gagosian (n.d.) Ellen Gallagher at Gagosian [online]. Gagosian. Available from: https://www.gagosian.com/artists/ellen-gallagher [Accessed 19 July 2017]
Tate (n.d.) Ellen Gallagher. Biography [online]. Tate, London. Available from: http://www.tate.org.uk/art/artists/ellen-gallagher-9553 [Accessed 19 July 2017]
15/18 July 2017. I came across Marlene Dumas (*1953, South Africa) before in preparing for Assignment 5 of Drawing 1 (Lacher-Bryk, 2015). Her haunting portraits are based mostly on photographs. They are done quickly using dilute watercolour or oil and by selectively wiping off pigment, leaving ghostly sketches of her subjects. Most are not intended to portray a person truthfully, but rather an emotional state (Moran, 2015). Her technique reduces a facial expression to its absolute essentials. This lack of diversion by unconnected secondary messages I think makes the portraits so strong. When I compare them, a great many appear to radiate trauma in one way or another. Maybe it is my own experiences which make me (hope to) see a hint of something similar in the faces of other human beings, so that I may not alone, which leaves the hope of being able to share the emotions intact. It is horribly fascinating to see that a child’s face, without the everyday traces of having lived visibly engraved, can radiate as much trauma as that of an adult’s (see e.g. Dumas, n.d.). Since these shadows from the past are central to my own projects also, I will tackle exercise 2.2 of this course and very likely Assignment 2 with Marlene Dumas in mind.
Dumas, M. (n.d.) n.t. [online] [watercolour drawing]. n.k. Available from: postmedia.net/dumas/dumas5.htm [Accessed 17 July 2017]
Lacher-Bryk, A, (2015) Part 5: Personal project – more research [blog] [online]. Andrea’s OCA study blog, 5 December. Available from: https://andreabrykoca.wordpress.com/2015/12/05/part-5-personal-project-more-research/ [Accessed 17 July 2017]
Moran, F. (2015) Close up: Evil is Banal by Marlene Dumas [online]. Tate, London, 3 February. Available from: http://www.tate.org.uk/context-comment/articles/close-up-evil-banal-marlene-dumas [Accessed 18 July 2017]