Ordinary Aura

I forgot to mention kevin's "Trying SOmething New" pie charts of the redeemable. I think this is really good. Plus, it warms my heart when you can create a piece that covers everything from Stryper to D & D with Chariots of Fire making an appearance.

This project made me think about the early posting of Seth's that showed the "Communimage". Is this right? The picture comprised of many many parts. This is one thought I had when thinking about it as more spatial. I do like the flat program of clicking through a powerpoint though... and Tufte is synonomous with elegance in my mind and this subject your "explaining" is on the clunky side, isn't it?

Anyway, I hope we can add this to our checklist.

Way to organize Chris. I am in the midst of constructing an eye/circular form out of newspaper imagery. It is still rough, I think it might be a nice connection to Kevin's pie chart, aura/nimbus imagery, how it is constructed will also have a chart feel to it as well. I will get an image of it up. Chris were you still interested in making the 18x24 paintings. I am ready to work on that if it is still part of the plan. Also I would like to contribute one of my ongoing drawing collections entitled "Never Finished". It would be similar to the image Adam took from my show in Chicago. Kevin you also saw an incarnation at my studio. (Thanks again for stopping by).

I will keep working on the eye and the drawing collection. Unless I hear other wise.

hey i saw your show saturday before it came down seth - very nice.

quickly - as for the checklust (freudian typo there. hmmm...), I don't the the times square piece really fits. the pie chart I'm not sure about either actually, in its present form anyway. but i think something will come of it. i like the idea of addressing the show's subject matter head on like that.

i do have one other idea more closely related to my recent work, something involving the installation of live phone (s) that are always connected to some other phone. I'm real interested in the use of phones to connect without conversing. thinking about for this show the inference of making it "more than just a phone" through its live connection to some other place...i'll post more when i figure that out.

kevin, i like the phone project. i wonder if a sound element (chris) could be drawn from this piece, or at least suggested? kevin, is that appropriate? can this be associated with the city at adam's studio?

on another note- jered, i believe you are the only one who saw my cell phone tower/bed sculpture in person at iowa, "deep calls to deep". i had not thought of this work, which no longer exists, until now. maybe, we could construct a sculpture that would similarly suggest or serve as a communication device/connection to adam's gallery (or elsewhere), whether functional or not. i will try to post an image of the sculpture next week.

ok, i don't know if any of that is coherent, but chris, i do have a series of large drawings/paintings that will be in a show opening friday. some of these pieces relate to our show and will be available then.

This comment also applies to the blood wedding thread. I'm in New York State now, hanging out with my friend Beth, who trained as an architect and who is therefore a good person to brainstorm with about what to do with space. She suggested, in terms of my own project, looking at a current Richter installation at Dia, which I'll try to do while I'm up here. Basically, she was talking about activating the upper space by rigging dark panels, glass-fronted, and projecting onto these so that the projection reflects around the space. So you'd get a bunch of fading, fragmented re-inventions of the space within the space itself. It occurs to me this might be a neat treatment of some other works in the show, specifically Chris' portrait series; I can imagine those hung on the walls, but also scanned in and projected onto these hypothetical panels.

I'll try to remember the rest of our conversation later; we're about to head into the city now.

Here's a single image of that Richter installation. Beth and I were talking about having similar panels clamped to the girders above the space, angled down.

http://www.diabeacon.org/exhibs_b/richter/index.html

seth, i like the panel idea, how would they be fabricated?

we are getting to the point when i need to start compiling a definitive list of work and technology needs
we have talked about sound, projections, web-based projects, phone lines, etc
what exactly do each of you need and what can you provide
laptops?projectors?speakers?amplifiers?microphones?

also now might be a perfect time to plan the week before the opening
i am thinking that we should all be here that week to collaborate and install
i am working on a small honorarium for you all
and i think those who may fly might want to purchase tickets soon before the price gets too pricey
i know chris and barb are planning to drive
anyways i need to get to class
more later
wolpa

adam - more later, but Richter's panels are grey/black paintings, glassed. Something dark w/ glass in front would work.

I also want to start thinking about installation, not just schedule but available technology; that'll determine what the project looks like, for me at least. Do we have any available stuff there, data projectors and such?

I'll check in again later today.

in terms of 'aurafying' the UICA. the space already has this warehousy cathedral thing going on that could use some direction/activiation. i think linking the work together via the architecture could be the most appealing/effective.
the map idea reminds me of an installation at calvin by the BFA students. there were a number of individual pieces dealing with the notion of interception, some videos of information maps and football games, airplane imagery, security technology, etc. they attempted to unify the show into an installation by running an information map all over the space, creeping onto some of the work and the ground. they also used a kelly green as a unifying color. [adam do you have any images of this?]. it ended up making the show look pretty forced, like a number of individual art works trying to make themselves into an installation.
but they did use sound, and that seemed to fill the space and interact with the work more appropriately.
so i'm having a hard time imaging this map of the city [acting as a unifier] as different from the calvin show.
i've tried imagining it as something that most visitors may not notice . if it worked with the architecture well enough it could be seen as having already existing with the space, but as something that is there and will continue to be. like when you see lines of former walls in old apartments, or doors that lead out to a nonexisting porch. [someone had mentioned the idea of praying for people that have already died, or those that don't yet exist... some interaction with history that this idea might toy with] some interesting metaphors with the heavenly city.
alan, i'd like to see images of that 'deep calls deep'. the space outside of the front doors could certainly use some activation. it's a pleasantly dark space that could work well with communication from the heartland.
have also been reading about repitition in conceptual art. it's been used to both destroy and enhance an object's aura. thinking of warhol's car wrecks vs. tom friendman's stuff. desensitizers vs. visual mantra makers. could this play into the set up of the space?

i wanted to respond to rowley's mention of repetition as it relates to aura
i feel like this is totally relevant as i think of printmaking, ritual, and as chris just said on the telephone- urgency

i just showed the paul pfeiffer segement of the art 21 series to my sculpture class and he talks about repetition in relation to his work, and this quality of being drawn like a moth to the flame, mesmerized.

this got me going on the repetition tip
thinking about ritual, thinking about being drawn to aura
i was reminded too of all this business this morning as i was looking again at chris' portraits
the repeated form, printmaking
i loved how he talked about the idea of urgency in relation to the multiple, i think about the gospel
rowley asked how this might play into the set up of the space, and i too ask that question