As part of their show, Lactobacillus Amongus, SE Nash invites you to a closing potluck event on June 25th, at PLUG Projects, from 5-7pm.
Participants of the show (the sourdough starter’s owners) will each bake with their starter this event.
The Hanky Code is a visual system used primarily by gay men within the queer community to “flag” potential sexual partners using a code of color and material signifiers worn in one’s back pocket. Boi Boy is taking over the planning room of PLUG Projects to present and discuss the history of the Hanky Code while encouraging its resurgence in queer culture. Participants will discuss the notion of queer identity, signaling within the queer community, and what it means to cruise in a digital age. During the discussion individuals will be led through a dying workshop to create a hankie that aligns with their sexual interest.
This workshop coincides with the one night only exhibition, “Select Username and Password,” opening at Front/Space, located at 217 W 18th St, Kansas City, MO 64108 on June 2nd. A collaboration between Blair Schulman and Boi Boy, including works by Kevin Heckart and Matthew Johnson, the exhibition kicks off Pride Month by exploring the history of cruising from the park to iPhone.
Boi Boy would like to, “encourage our community to come out of the digital closet, reflect on our history and have a fun time dying some hankies.” Come join us a PLUG Projects from 3-4pm for a happy hour of fun!
*because of mature content, Hanky Code Workshop is recommended for 18+
When I first encountered Markus Amm’s work in the halls of Booth School of Business, I was quite taken with his formal/material operations. Simultaneously mysterious and obvious, I wonder what parameters or set of instructions Amm is both working within and against to arrive at these very physical constructed images. It seems there are internal forces at play that are left open for the viewer to project into and complete. It seems more about this sense of projection than erasures or sites of removal.
After visiting the paintings several times, they did not empty out quickly. Amm also maintains a body of work in the photographic process of photograms by using direct application of positive shapes against the exposure process on photo negative paper. This immediacy, limited palette, and controlled material experimentation in both the paintings and the photographs is infinitely intriguing.
A recent resurgence of the photogram process brings new light, new structures, and a new set of tensions to bear on the medium. Another artist working in the process who is also harnessing color and creating fields is, Walead Beashty.
“Working in both color and black-and-white, Beshty revises this historical technique by enlarging the scale of his photograms and making use of more contemporary technologies, such as color processors. In addition, rather than placing objects on photographic paper, Beshty folds or curls the paper before exposing it repeatedly to light, creating interlocking facets of prismatic color. The resulting works present themselves as seductive, elusive abstractions, yet they are actually material representations of the very process of their creation.” –Hirshhorn Museum website
Beashty and Amm’s photo interventions immediately bring to mind the master and Bauhaus-to-Chicago pioneer of Constructivism, Lazlo Moholy-Nagy. In the early 20th century Man Ray and Maholy-Nagy first experimented with cameraless photograms. Now Amm and Beashty pay homage to these artists in their updated photogram interventions. Essentially these artists are sampling and repeating a time tested process by bringing it into the 21st century and proving it can hold new content and hold up in new contexts.
Markus Amm in University of Chicago Booth School of Business Collection.
Anne Truitt has always stood out in my mind as having a command over peculiar color. Truitt’s totemic wood sculptures hover on their bases and emit color from the inside out. This is achieved through a laborious process of mixing pigments, application, sanding down, and applying layer after layer in this manner. Pigment settles deeply into the very fiber and grain of the wood. At a certain point the “woodness” falls away and strangely, color takes on an agency of its own, supported by the structure itself. Truitt’s instinct for color and form has led her to attribute certain references to nature, geographic place, time of day, as well as the corresponding qualities of light in titles such as, A Wall for Apricots, Autumn Dryad, and Valley Forge.
Anne Truitt began exhibiting her geometric minimalist abstractions in 1961. And in 2009 I visited The Hirshhorn Museum’s exhibition, “Anne Truitt: Perception and Reflection” curated by Kristen Hileman. Although the installation and display strategies of the work were problematic and detract from the sculptures, it was a very complete introduction to Truitt’s oevure. The sculptures have a presence that came as a surprise and felt uncanny due to their body-like scale.
Writing in April, 1965, Truitt stated: “What is important to me in not geometrical shape per se, or color per se, but to make a relationship between shape and color which feels to me like my experience. To make what feels to me like reality.” (Private papers.) –Anne Truitt.org
In Anne Truitt, Working, a film by Jem Cohen, Truitt points to a “sickish color” and talks about layering that one under another in order for it to “zoom into being, in order to lift up ten feet into the air.” (fast forward to 2:14). Cohen sums up Truitt’s endeavors in color as one that is “scientific search and in ways a spiritual search” in an attempt to “set color free in three dimensions.”
Plug has its finger on the pulse of current art practices! Here is a feature on Gallery 400 whose current exhibition has similar interests as Plug’s current Dramatic Chromatic:
Spectral Landscape (with Viewing Stations) is co-curated by artists Pamela Fraser and John Neff for Gallery 400.
“Exploring color as both a formal and a social force, Spectral Landscape (with Viewing Stations) arrays artworks around the gallery according to a loosely organized color spectrum. Envisioned by the artist-curators as an environment—a landscape—the project is created not only from works using spectral color, but also from instances of achromatic, invisible (infared, thermal, supernatural), and variable (metallic, iridescent) color in art. Spectral Landscape (with Viewing Stations) reveals and embodies how artists navigate the complex interactions between colors, histories, references, and sensations.”
I love the way Judy Ledgerwood’s work bends architecture and corners via pigments.
Spectral Landscape (with Viewing Stations) is on view April 27-June 9, 2012.
The excellent Exhibition Essay.
If you are in Chicago, be sure to check out the Color Film Series that accompanies the exhibition. The lineup includes: Stan Brakhage, The Dante Quartet, 1987. James Bidgood, Pink Narcissus, 1971. Peggy Ahwesh, The Color of Love, 1994. John Kramer, Carrie Yellow, 1998. Paul Dickinson, Infrared Nail Pull, 1998. Nova Paul, Pink and White Terraces, 2006. Cheryl Donegan, Flushing, 2004.
This past April (while on a road trip from NJ to KC), I had the opportunity to visit Frank Lloyd Wright’s domestic commission, Fallingwater, nestled in the woods of Pennsylvania just outside Pittsburg.
What is immediately clear upon approach is that Lloyd knows his architectural history. It would appear that Wright synthesized certain principles of design from across a spectrum of cultures and histories. These principles of balance and grace were clarified, and then combined to achieve a new harmony. Clean lines, flawless integration with its natural surroundings, and modular domestic amenities inside and out are reminiscent of Japanese architecture. Every square inch of space, overlap and point of contact is considered.
One of the most glaring differences between experiencing this home and contemporary homes are that the proportions of everything- thresholds, to rooms and windows, planters and the pool- each one is so contentious.
Frankly, I was shocked to see Wright use an ochre color of paint applied to concrete shaped into soft round, repeating curves. When I think of Wright’s style, angular bricks in squat midwest prairie iterations spring to mind. In my humble opinion, Falling Water also references Adobe abodes, so characteristic to the American Southwest.
The ochre body with red window trim made the home both pop and recede into the foliage depending on the strength of the sun through the clouds that day. I overheard a passing guide mention the color was derived from the underside of a fallen, dead leaf.
“Paint Colors: Wright’s desire to create a unified and organic composition limited the color palette at Fallingwater. Only two colors were used throughout: a light ochre for the concrete and his signature Cherokee red for the steel (PPG Pittsburgh Paints). –Fallingwater Facts
Even though this home was built in 1936, its vision and clarity resonates today. I wonder what kind of lives were enriched by existing amidst nature mingling with these walls. Fallingwater is a fantastic specimen of “superstruct,” the original foundation here literally being nature and conceptually being a myriad of architectural histories/principles that are built upon. It is a structure quietly ahead of its time.