The Art of Installation

Hanging and installing an art exhibition well means that spectators will have no idea of the logistics, procedures, diplomacy and toil that went on behind the scenes. They will see the work, enhanced by the environment and setting, but it should be all about the work. But…… there are lots of steps before that work gets on the wall.

I have been curating shows since 1989 and each one has a different set of challenges and problems to solve. I am always interested in the way artists pack, ship, and present their work. First, accepting the work can be mayhem as can be uncrating, one is never sure how the work will arrive and will be packed. I think there are several personalities that arise when artwork is transported:

1. The Overpacker: This is the artist that thinks they will take no risks for damage by sending a 12”x 12” piece in a 4 ft x 4 ft box, wrapped with bubble wrap, popcorn (the bane of any curators existance!), newspaper and more bubble wrap, all layered like some beautiful synthetic lasagna. The piece still arrives damaged. Why? Because it was wrapped so tightly it loosened some of the pieces- probably during the packing phase.
2. The Optimist: The artist that assumes that no one will toss, bump, drop-kick, or step on their lightly protected package. Writing fragile on the box usually invites mayhem. Damage usually occurs from edges not being protected well.
3. The Careful Handoff: This artist trusts no one and is overprotective of the work. There is definite separation anxiety upon leaving work behind. Note: the handoff may also have characteristics of either the overpacker or optimist.
4. The Professional: This artist has experience not only with shippers, but also understands the construction and possible weaknesses within the work. The work arrives intact, neatly packed with unpacking and repacking directions, and return shipping clearly visible.

The crates and boxes are labled, repacked neatly without the art, and stored away. Once the artwork has been checked for damage, then it is time to make sure all the papers are in order; loan agreements, Pricing info, returning shipping. Not a big deal but a real pain in the ass when the proper papers aren’t there and the curator needs to chase the artist and track the paper trail.

If minor repairs can be made by the curatorial staff, those are done immediately. If the damage is extensive, the curator must assess the work and if it can be fixed in-house. If not, the work is photographed and the artist is notified so they can arrange to repair the work personally, arrange for the work to be returned so they can make the repairs, and also so the artist can notify the shipper for insurance purposes.

When a show is planned, the curator usually has some idea of what the works are. There are always some surprises, in the sizes, the framing, and the color as descriptions and photos may be misleading. The show may be plotted before the work arrives but I have found there is no substitute for seeing one physical piece next to another. This can be one of the most challenging phases of the installation- the arrangement. What goes with what. What looks good next to what. How will this piece be enhanced by the one next to it?

In a group exhibition where there is little consistency among the pieces, it can be a struggle to hang smaller work and subtly colored work among bold and large exhuberant pieces. The trick is for the audience to move through the show and give attention to every piece. It is much like composing a work of art- you want your eye to move across the canvas, from one side to another.

The hanging. In the best of times, all artists abide by weight restrictions and have the proper hanging devices. Elation ensues when this occurs, which is damn near never. Clean, simple, easy to use, streamlined hanging systems are best not only for those hanging the work in an exhibition, but also for those that may want to buy the work after the exhibit. So, depending on what an artists has jerry-rigged on the back of the artwork, hanging a 50 lb mosaic on a wall might call for a creative solution.

Finally, all work is correctly labeled, dusted, leveled and checked. Walls are touched up or cases are cleaned.

Now, the work can speak for itself.

A spade’s a spade.

Why do artists find it difficult to be honest when discussing work by their peers? Perhaps the concept of hurt feelings or discouraging someone is cause for extreme politeness when it come to talking about work honestly. Are you really helping an artist when you say that it’s nice? That the colors are great? That it’s really pretty? Or what happens more often than not in contemporary mosaic criticism is commentary about the materials rather than the substance of the work.

Several years ago, an emerging artist begged me to discuss her work critically with her. She had no formal art training and had never had anyone discuss her work critically. The work was technically crude and conceptually superficial but there were also wonderful elements in it. She begged me to be direct and honest. I bristled knowing how sensitive she was but I told her that this discussion would be about the work and only the work, not about her materials or her technique or her personally.

I referenced her composition, how my eyes were able to move through or pause within the work. I was specific about what was successful and what was not. I asked her provoking questions and gave her suggestions about what directions she might go next. I would call it more of a “soft” critique because I knew that this was new language for her and that it might be a lot to take in. She thanked me profusely, told me how much she appreciated the help, and how glad she was to hear a ‘real’ critique.

A few months later, I heard through friends that I had trashed the artist and she was devastated by my harsh words!

From the film “A Few Good Men”:

Kaffee: I want the truth!

Col. Jessep: [shouts] You can’t handle the truth!

Talking about art is an art in itself. As a young art student, I was subjected to much harsh criticism of my finished and unfinished work. At first it pissed me off that someone was attacking me- me personally, I thought, since I was unable to separate myself from my work! Once the defenses eroded, I was able to LISTEN. I also learned to talk about work by participating in regular group critiques, with the work physically in front of us.

Since 1998 (when I joined an online ceramic artists group) I have seen many attempts at virtual critiques. I believe the most successful critical discourse (online) occurs between those that have already met in the physical world, between those have had face to face contact and can understand the individuals’ tone of voice. It makes a difference not only to who is evaluating the work but also to who is LISTENING. And there is no substitute for seeing a work in person, especially a mosaic.

Don’t tell me my work is NICE. I don’t care if you like it. Tell me WHY. It takes balls to say what you think and know why you think it.

“……In real life, people are often more silly in a crowd than they are on their own. If you think that everybody else believes something, then it must be true – and you have to be very brave to be like the little boy (in The Emperor’s New Clothes) and stand up and say what can see with your own eyes.” -Bertie

today.

How is it our two bodies
made only of flesh and bone
ignite with this fire
yet do not burn?
How is it that this cannot last
will disappear into the ether
as our bones will turn to dust
and disappear into the earth?

-Terra Hunter

A Face for Radio

The Mosaic of Art is an innovative internet radio concept that was borne to stimulate creative discourse of contemporary mosaics. Host George Fishman explains the idea for this show:

Why “The MOSAIC OF ART?” A mosaic is a pattern or picture that’s made of hundreds or thousands of small units – whether glass, ceramic, stone or some other material – that are organized and assembled coherently. In a comparable way, we find artists and other players in the art/design world working with different ideas and materials, but – looked at collectively – sharing in an enterprise we can call ART. This show will give voice to the individuals and also look into the ideas and themes they share.

I will be grilled by George , appropriately, on Valentine’s Day, at 2-3pm CST. If you miss the live show, you can catch it 24-7 streaming online.

Why are you reading this???

Shouldn’t you be in your studio making ART?

With all of these online distractions how much time do artists waste talking about art, googling about art, “friending” strangers who like art, and posting musings like this?

Guilty!

Kill my facebook. Kill my art blogs. Kill my talklists.

Long live time in the studio! Here’s to face to face friends! Cheers to living real and not virtually! Feel the planet- see you there!

The Schizophrenia of Mosaic Arts

I recently read a comment about mosaic fabrication by my friend and colleague, Ora Avni who stated,” A degree of artisanship is clearly inseparable from the creative process. A mosaic is the end result of a myriad of choices and manipulations none of which should be left to chance or to a third party. Some mosaic manufacturers choose to commission a design (also called a cartoon) and to outsource its execution to Mexico, China or Peru. I do not consider those works of art.”

I appreciate her evaluation of mosaic fabricators although she does go on later to say This is not to be confused with a mosaic that interprets a painting, in which the choices made by the mosaicist can be of more interest than the source. “

Last week some marvelous public mosaics were unveiled at Chicago’s Belmont CTA Station. The artist, or rather I would say, the designer of the mosaics is David Csicsko, who created the designs and worked with fabricator/designer Erin Adams to manufacture the designs in glass and then it was installed by city engineers to adhere permanentIy to the walls of the station. I do admire these designs and as a lover of mosaics I appreciate the materials. David Csicsko is now being called a mosaic artist, yet I wonder, is there a mosaic artist anywhere here at all, or does it even matter? Why should I care?

Perhaps it is because I am part of a community of mosaic artists who have been trained to do the work of an entire team- yet when it comes down to who gets the job, the design always wins. It is not about how well you create andamento or how skilled you are with smalti- it is THE DESIGN.

There is a need for designers and architects and fabricators to create large scale installations. Most of these works could not be done without a team. When I have created public works I am the artist, designer, job manager, fabricator, and assist in the installation. Mosaic work can be so time intensive (depending on the complexity of design, materials, application, etc) that it behooves the mosaicist to hire assistants , and fabricators (if skilled labor is of the essence). Is it asking too much for the mosaic artist to create a work from beginning to end- hands on, with out the intervention of a manufacturing house? Nah.

There is a bit of an identity crisis among contemporary mosaic artists. You have the “fine artists” that use mosaic materials to evoke and translate their ideas and imagery.

There are many artists that are single minded in their approach to the mosaic art form. They like to cut. They don’t like to draw but they like like to glue. They want to draw the design and have someone else make it. Is it possible for a contemporary mosaic artist to wear so many hats?

I say yes. Those that understand the material and do because they have immersed themselves in the possibility of mosaic. They understand that there is more to designing a mosaic than the “cartoon” or outline of design. They recognize that the material and artist chooses for their work has its own light and energy. They know where the work will be placed and understand how the chosen materials will wear and age in any given space. Most importantly, know when to ask for help- hire a professional installer, engineer, publicists or assistants. Mosaicists can wear many hats but which one fits you best?

Soul meets Body.

When we turn the dirt
With our palms cupped like shovels
Our filthy hands can wash one another’s
And not one speck will remain

And I do believe it’s true
That there are roads left in both of our shoes
But if the silence takes you
Then I hope it takes me too….

from “Soul meets Body”-Death Cab for Cutie, 2005

The Persistance of Meaning

What artist does not ponder their commitment to self expression? Is it an ego-driven pursuit to want evoke life experience in a universally recognizable language?

Knowing what is behind the work , to work with INTENT separates the superficial and trite from the meaningful and profound. At least I believe an artist has a better CHANCE at depth and understanding if they know why they create.

Searching for meaning. What a job. It is a process of knowing yourself and embracing the ebb and flow of life’s elations and disasters. Art can evoke and document a world within us – it can relay the humanity and emotions that set us apart from all other living organisms.

I continue to be challenged by what is important , what I have seen through my eyes, and what is distilled through the work- art, love, family,school, organizational, and self. I am trying to put this mosaic together everyday.

Changes.

Things shift and winds move sands
Dunes look changed by times breath
Today’s sorrow erodes to flatness
Erasing the fire and killing the flames

Days they pass and the photos fade
your face gets softer and less important
the earth swells beneath me
away from you

under my feet I see the ash
the ruins of mouths burnt together
the sinew of your clenched fingers
around my still swollen beating heart.

– K.A. 2010

Yael, Ruslan, and Moi.

Recently I had the opportunity to meet Yael Yitzan, President of OIMA, the Organization of Israeli Mosaic Artists, who introduced me to several wonderful contemporary Israeli artists in Jerusalem and Tel Aviv.

We met at a Gallery in Migdal Shalom, In Tel Aviv, where there was an exhibition of work by several artists of the organization. Very cool stuff. I admired the work of Nirit Kirin, Ilana Shafir, Yael Blumberger, Ruslan Sergeev, David Shamir, and others. There is an exciting aesthetic among the mosaic artists there, employing a lot of ceramic, marble, smalti on both 2D and 3D works.

Yael Yitzan introduced me to Ruslan Sergeev, who some compare to Niki St Phalle (I say his work is even more whimsical and unbridled). He is a prolific artist who works monumentally and has works all over Israel. He is a charismatic fellow, full of life and passion for his work. His studio is outside on a hilltop in Jerusalem- a big wide open unprotected space with views of the city, of the Dead Sea, of the mountains of Jordan- an unbelievable panorama.

Ruslan’s work is from another place, another world. When we spoke about what we both envision when we are creating, he said this.

“I am the bridge between the imaginary world and here”.

It is a wonderful thing to be able to bring beauty from your head and your heart to a physically tangible environment.

Thanks, Ruslan.