Lecture Entry: Paul Shambroom

Visiting photographer Paul Shambroom has been conducting, as he calls it, a "long term investigation of power". The artist grew up during the cold war and has an innate fear of nuclear weapons, a subject that appears throughout his artwork. Whether he is shooting actual missile silos, or training stations for the weaponry's guards, the sense of power and the threat of nuclear anihilation pervades Shambroom's oeuvre. He began his career as a commercial photographer, and found himself wandering around the military factories that have always seemed so imposing. In his speech, he explained that the American public has a constitutional right to see what our government is up to, a right which he exercised in his series. Shambroom gained access to these highly secured locations due to his persistent letter-writing. His Nuclear Weapons series shows the reality of this country's arsenal, juxtaposing complex weaponry and missile sights with peaceful landscapes. In contrast to these high-powered and classified locations, his series, Meetings 1999-2003 brilliantly showcases the board meeting of very low-powered committees. To lend these images a classical feeling, Shambroom studied historical paintings and emulated their compositions. They are compelling scenes of ordinary individuals taking their positions seriously and with pride.

Lecture Entry: Josua Poteat and Elizabeth Seidel Morgan

On the evening of March 26th, VCU's English Department hosted two of their previous MFA graduates to present a lecture and give readings of their own poetry. Joshua Poteat received his MFA in 1997 and has gone on to be a published poet, with his 2004 book, Ornithologies. His poetry is visually striking and often quite humorous. Poteat finds inspiration for his poems from various sources, including the artwork of sculptor Alice Aycock. The author admits that he, "steals titles from other works", even naming one poem "Illustrating a Machine to Catch and Reproduce Ghosts" after Aycock's sculpture. Being a Richmond native, there are many references to historical events that happened in Church Hill in his poetry, including one poem about the legendary train tunnel collapse of 1921. His poems evoke images from the early 2oth century. In his upcoming book, the chapters are sorted into fictional departments in an old Sears and Roebuck Department store. In one poem under the heading "Lighting Department", Poteat imagines light bulbs created to replicate the lighting quality of 1920. Historical events and characters effectively coexist with present day surroundings.

Born in 1937, Elizabeth Seidel Morgan was one of the first graduates of VCU's MFA Program for Creative Writing. Despite her years, Morgan was bright and fiery, reliving her early poems with a sharp intensity. Her poems contain violent and barbed diction, which is apparent in a number of the works she shared. The poem "How Much Was the Most Elvis Ever Weighed?" relates a true encounter with Elvis Presley when he was 18 and she was just 16 years old. She met the legendary musician with a friend after one of his shows and her friend posed on his lap for a picture. In the poem, the author mournfully recounts that both Elvis and her teenage friend died around the same period of time, both from drug overdoses. Morgan does write about bitter periods in her life, yet never forgets her sense of humor as evidenced in "All My Friends' Pet are Growing Old". She was a delight to listen to and imparted a number of keen observation on the audience.

Lecture Entry: Amy Stein

Earlier this month, our department hosted photographer Amy Stein, a graduate of New York's School of Visual Arts. Stein first became interested in photography in her early thirties, assisting at photo schools and submitting images to online publications and newspapers. When one of her images became the cover photo of the Washington Post, she gained the confidence and momentum to keep invested in photography. Stein's first real series of images were born after the DC sniper incident and was titled, "Women and Guns". Because Washington DC was the capital of guns and violence, she studied the culture of people who own and use guns frequently. This series eventually led to an interest in the animals slain after a hunting party. Stein began to research taxidermists and photograph their own handiwork in Pennsylvania. The artist came up with the novel idea of returning these taxidermic animals back into nature, where once they lived. This idea grew into the "Domesticated" series, which was created in Pennsylvania in the summer of 2005. The images are based on real stories of animals coming out at night and wandering around town, yet they have a fantastic, otherworldly feel. These animals look for their old habitat amongst parking lots, swimming pools, and light poles. All of the animals appear to be living as they amble discontentedly around man-made environments.
In a more recent series, Stein photographed ill-fated motorists along America's highways. The "Stranded" series features portraits of drivers and passengers whose vehicles have broken down, standing next to their dilapidated cars. This series does not jog the imagination as her previous efforts have. Perhaps this imagery is too familiar or the compositions are too close to other works.

It may be because Amy Stein is relatively new to the world of photography, but it is refreshing to hear from an artist who appears grounded and not too swept up in her success. I liked to hear about her process and the evolution of her ideas. Stein was quick to acknowledge her influences and that there exists similar series to her own. She spoke earnestly and welcomed questions from the audience.

Lecture Entry: Mark Dion 2/5

Rarely have I been introduced to an artist as ambitious and hilarious as Mark Dion. The distinguished American artist discussed his interest in historical preservation, and how institutions have the power to influence history and the knowledge of the population. Dion acts as a collector, curator, and scientist, all to prove the point that we as a people are quick to take in what is presented as official, and not truly question it; he showed the institution in a ridiculous light, as he took upon the role of curator and arranged his collected "artifacts" according to a system of absurd classifications. Dion travels from one continent to the next, and often sets up (or creates his own) galleries in the country that he does his collecting. In one instance, he spent the afternoon ambling about Chinatown in New York City, and bought as much seafood as he could find. After gathering his material, Dion created an artificial lab in a New York gallery and began to preserve and classify his specimen. At first glance, his presentation seems formidable and academic, yet once you look closer, you discover his humorous intent. As an added show of authority, Dion placed false laboratory doors against the solid walls in the gallery. In another work, which was presented in the Venice Bienale, he sifted and sorted through a pile of debris which was dredged from the canals in Venice. With a team of helpers, Dion found a rich history, dating back centuries, within the waste. The objects gleaned from the mud were then sorted by form, color, and shape and placed in a series of tents.

Not all of his work is as approachable or accessible as the Venice dredge. In what is perhaps my favorite of Dion's work, he created a one-room flea market, isolated in the middle of a German forest. This tiny cabin bears the name Der Elster, or in English, The Magpie, and is filled to the rafters with bizarre findings. From the outside it appears to be a store, yet those who stumble upon it will find that it is never open. You can only stand on the outside and peer in at his collection. It is, in the artist's mind, that perfect store or oasis, a place that cannot be fully be reached. He has operated behind glass, wearing an official lab coat, during many performances, leading the audience to believe they are witnessing an expert hard at work at scientific classification and dating processes; those who follow Mark Dion's work know better.

Lecture Entry: Alix Perelstein 1/28

Before I begin my entry on Alix Perelstein, I feel the need to write that our artist lecture series has brought in some incredible talents before such as Larry Sultan, Anna Gaskell, and Candice Breitz. It really is a privilege to attend this series when the artists are of such high quality and can articulate the concepts of their work clearly. As enriching as those experiences have been, it is also beneficial to attend lectures from those not up to the aforementioned artists' caliber. I find that in such cases, I am able to hone my critical thinking skills and allow myself to truly question the merits of their work.

Alix Perelstein, a New York based video artist with a background in sculpture and choreography, visited VCU this week and left many wondering how she has garnered the accolades and gallery openings that she listed during her lecture.During the course of the lecture, Perelstein seemed to delight in reeling off intentionally obscure artists and manifestos. She tried to work against the audience, even laughing when someone in attendance asked who she was making these videos for. Perelstein played 6 video pieces for us, and while the filming techniques became increasingly intricate and sophisticated, the works became more and more obfuscating and hollow. One of her earlier works, 2002's "Episode", was intended to showcase roles within the family unit and acting-out as a mode of exhibiting identity, yet was an unintelligible jumble of cartoon sound effects, over the top acting and shoddy direction. The camera careened in and out as actors made bizarre faces and wandered about to the sound effects of a Hanna-Barbara t.v. special. In a more recent work, entitled, "After the Fall" her core acting troupe paraded around a black studio while four cameras filmed their actions simultaneously. Spiraling cameras and caterwauling guitars bewildered the audience as her performers strutted around, just trying to keep a straight face. Their motions did not seem to hold any importance, and many of the actors appeared as confused as the viewers.

Perhaps my biggest issue with Wednesday's lecture, is just how self-serious the artist was. She spoke about her videos as if only a select, extremely educated elite could grasp their biting commentary; she expressed no sense of self-deprecation or warmth. As I mentioned before, this experience did have its upside though, as I did my damnedest to pay close attention and look for the value in her video work. I feel this lecture did help sharpen my critical eye and teach me how not to act when presenting my own work.

Lecture Entry: Citizen Kane with Professor Mike Jones

Last Monday, November 24th Professor Mike Jones made a special presentation of Orson Welles' Citizen Kane. Professor Jones, who usually teaches my Films of Alfred Hitchcock class, gave a lecture on the climate of Hollywood at the time the film was made, and spoke about the stylistics and dynamics of the classic film. Citizen Kane was released in 1941, and heralded a change in American cinema; the film was revolutionary for its use of sound and dark visuals. Welles' film set many ground rules for film noir and auteur cinema. The director was only twenty-five while making this film, yet he was already a well known figure thanks to his radio programs and stage performances. Because of his predilection for sound, which he gained during his radio days, the film features realistic sounds and dialog, as well as sound bridges that connect scenes. His cinematic influences are apparent in this film; he was fascinated with John Ford, Jean Renoir, and F.W. Murnau. Welles' admiration for Murnau's Expressionistic angles and lighting are evident in an early scene in the movie. After a film reel showing Charles Foster Kane's life story ends, a group of characters are left in a dark, hazy screening room, which is only illuminated by two shafts of light coming down from the projection booth up above. This example of chiaroscuro lighting, which allows for deep shadows, is featured throughout the film and is key to the film noir style that flourished in the following years.

I am particularly interested in auteur cinema, and was amazed at how much control young Orson Welles exercised during the creation of this movie. He co-wrote the film, directed it, starred in it and even had the final word on how the film should be edited. RKO Studios allowed Welles an unprecedented amount of freedom with Citizen Kane, and their faith in him resulted in one the most well-regarded films ever.

Lecture: Yale School of Photography

I attended an open house for Yale's School of the Arts in New Haven, Connecticut on Thursday, November 20th. The school is divided into four component departments: Graphic Design, Painting and Printmaking, Sculpture, and Photography. A lecture was delivered for those interested in the photography department by professors Gregory Crewdson and Chip Benson. Both men stressed the importance of the critique, which is the focus of the photography program. Students are subject to three critiques each semester, which works out to each student presenting new work every five weeks. For the professors, making artwork is much more important than discussing theory. The three critiques are open to all students and professors in the school of the arts and are apt to last several hours. Crewdson described the department as "lens-based", meaning emphasis is placed on constructing photographs traditionally, rather than using a lot of technical programs to enhance images digitally. The program runs two years, and each year has nine grad students.

I cannot express how human and unpretentious the students and professors were. Gregory Crewdson, who has been a great inspiration for my work, spoke plainly and was very approachable. The school was built in an old community center and the photography department's critique room is at the bottom of an old swimming pool. The walls were unadorned with prints, so, I assume, we do not get the wrong idea of what Yale looks for in terms of student work. The environment was very welcoming and I did not feel overwhelmed by the school's stellar reputation and alumni. It was an excellent visit, and Gregory Crewdson, Chip Benson, and the grad students were open for numerous questions and comments.

Lecture Entry: Professor Babatunde Lawal

VCU Art History Professor Babatunde Lawal gave an informative lecture on the Kente fabrics belonging to the Ashante people of Ghana. In his lecture, which occurred this week at the University of Richmond, he exposed the link between clothing and language, by means of iconographic patterns and colors. Lawal noted the importance of the body and its clothing in terms of culture and class. Iconographic images woven into clothing show occupation, status, wealth, power, and even stories. The patterns and colors featured in Kente fabrics can be readily interpreted by the Ashante. Unlike the Ewe people in Ghana, who use cool colors in their clothing, the Ashante employ bold, dramatic colors and patterns. Within their patterns, hands represent friendship, stools represent repose, elephants stand for nobility, and zigzags signify the energy of life, as well as the unpredictable elements found in life. The fish head motif recalls an ancient Ashante adage, "a wise person will grab a fish by the head, only a stupid person will grab it by the tail and let it slip". As with every culture, the Ashante has a set of associations to accompany the colors in their clothing: white is purity, black represents power, obscurity, and secrecy, red is for blood and vitality, yellow is for ripeness, green signifies clairvoyance and healing, and blue is for water.
I am alway interested in the different meanings attached to colors. I had no idea about the significance of every element featured in this culture's dress. Marcus Garvey, the leader of the Back to Africa movement in the early twentieth century, adopted the Kente fabrics as his own and wore bold, commanding colors such as black, red, and green. Golden stool patterns, which I had seen before on graduation stoles, are sacred to the Ashante; they represent repose and are prominent in funerary rites. Professor Lawal talked about Kente's importance in America today thanks to the Civil Rights movement in the fifties and sixties. Muhammad Ali championed the Ashante's designs after he visited Ghana during his prime.

Lecture Entry: Simen Johan

Norwegian photographer Simen Johan began working with digital technology at the time of its inception. In his early series "And Nothing Was to Be Trusted" Johan made digital composites of found images in black and white. The monochromatic palette helped mask the problems with the burgeoning technology. This series featured unsupervised children in precarious positions, and touched upon the themes of oppression, emergent sexuality, and masculine identity. His artwork evolved dramatically over the years, and his second series, "Evidence of Things Unseen" found the artist taking his own images and working with color. With this work, Johan focused on the relationship between childhood activities and ritual practices. In addition to making digital composites, he began staging scenes and creating all of the elements in camera. One particular image shows a naked young girl at the beach. Her sand covered body is crouching in the middle of a ring of cigarette butts, which she lays out as if for protection. In 2004, Johan began working on "Until the Kingdom Comes", a series of photographs depicting animals in various environments. Animals, both dead and alive, frequent these scenes, which are inspired by the compositions of famous paintings.
For as intriguing as some of his images were, I found Simen Johan very inarticulate about his work.I wanted to hear more about the conceptual thinking process behind the series, instead of just the digital manipulations. He jumped from one image to the next without really explaining his intent in the images; the audience could clearly see what elements were in the images already, but we needed more insight into his thought process. In prior lectures, the artists have been enthusiastic and eloquent about their ideas, willing to confide in the audience about influences and content.

Lecture Entry: Professor Todd Cronan

At the heart of Art History Professor Todd Cronan's presentation, From Postmodernism to Modernism: Painting as Affect Machine, was the conflict between what a work of art means vs. what it does to the viewer. Cronan illustrated the issue with several classic paintings, accompanied by statements from other learned art historians and critics. Yve-Alain Bois wrote that his body produced a physical reaction to the violence he saw in Henri Matisse's "Harmony in Red". Bois likened the experience of viewing the saturated red color in the painting to actual physical trauma. Painter Wassily Kandinsky believed that "color is a means of exerting a direct influence upon the soul". In his view, yellow was always aggressive and unsettling to the viewer. Modernist artists believed that color and line alone could affect the audience. Horizontal lines, for instance, always recalled the horizon and expressed a sense of relaxation. These Modernists valued the physical response a piece of art could induce over the mental comprehension of work.
Cronan believes that meaning is more relevant than physical reactions. He argues that the meaning of the work lies in the artist's original intention. While the viewer may formulate multiple assessments of a painting in response to its meaning, the physical affects, "are not debatable". If a certain painting, by the likes of Francis Bacon, makes your stomach hurt, that is not up for discussion. Art work must be valued beyond its immediate impact on the body.
I was very impressed with Cronan's arguments. He produced arguments and quotations from credible sources on both sides of the issue. It seems strange that one would limit an artwork to just a physical sensation, and not proceed to examine the content of the work.

Tuesday Entry: Candice Breitz

South African artist Candice Breitz examines pop culture's ability to link those from all over the globe. Popular music and movies have become a way through which we can connect to others, and, for better or for worse, have taught us lessons and set examples. In her series entitled Babel, Breitz digested hours of MTV music videos and culled single syllables from famous performers. The artist broke the songs down to just the basic units of language, and was left with looping videos of the musicians singing "pa", "ma", and "no no". These early words are recognizable in numerous languages. Breitz describes these clips as "mechanical and brutal" reiterations.
In another series, Breitz linked classic pop love songs through personal pronouns. Almost every romantic ballad contains the words "I" and "you", as a place for listeners to enter their emotions into the songs. She selected videos of The Carpenters, Olivia Newton-John, Annie Lennox, and Whitney Huston singing their well known hits, but reduced down to just the aforementioned pronouns. Breitz positioned two monitors, each playing a video of the same performer, right across from each other. While one monitor sings "I" and "me" the opposing screen wails "you". The viewer is caught between a romantic battle waged by two voices of the same musician.
I admire the way Candice Breitz respects the material which she is working with. She mentioned the artist's responsibility to free the material from its original context in order to make it his or her own. Her videos feel both familiar and alien all at once. What we are experiencing goes well beyond the original purpose of the source matter, yet it is all performed by familiar faces. You can clearly tell that Breitz is a fan of the original music and movies from which she samples, as evidenced by her recent series dealing with genuine fanatics.