Post-Grad Updates

Hi everyone!

It’s been a while since I last posted, but I am happy to say that my hiatus from Canvas And Crumpets has come to an end. This year was a busy one academically and artistically (those two things go hand in hand for me…) I taught an art history course to freshman, wrote a senior thesis on Dutch Cobra art, played Roxie in the Tufts production of “Chicago,” and took both my math and science requirements in my senior spring. I ended up falling in love with my math course, an exploration of the math behind M. C. Escher’s symmetrical tessellations.

All my hard work paid off! I am happy to say that I won both the Art History Prize for my graduating class and the Madeline Caviness Prize for my senior honors thesis. Additionally, I won highest honors for my thesis and graduated summa cum laude. I celebrated these achievements with copious amounts of pizza from my favorite pizza place in Davis Square, Oath. (Try yours with ricotta…mmmmmm)

So what’s next for me? Next Friday I leave for a three week Euro Trip. First I’m visiting my family in Northern England. They live in a suburb between Manchester and Liverpool. During my stay, I hope to visit as many museums in both cities as possible, and also take a ride to the beach in Wales. Next, I’m flying to Amsterdam to see my abroad friends and travel around my favorite city with my best friend, Lara. It’s the 100th anniversary of De Stijl in the Netherlands, so I’m sure our trip will include some Mondrian! On my list for art spaces to see in Amsterdam are the Stedelijk (of course), the Rijksmuseum, the Witteveen Visual Art Center, and Foam. Lastly, Lara and I are traveling to Berlin for the first time! We hope to see as much art and history as physically possible. Luckily for us, the art fair Documenta is open in Kassel during our stay in Germany. Documenta only arrives every five years to this small German town. We plan to take a day trip or overnight trip to Kassel to experience this politically-charged exhibition.

When I get back from Europe, I plan to spend a good five weeks relaxing in New York City. I’ll likely hit up a July 4th Barbecue and see a bunch of Broadway Shows. You can expect lots of posts about my Euro Trip and the exhibitions I visited, as well as reviews of exhibitions here in NYC.

And after that? I’ll be starting GRE prep and German classes in August. During my gap year between undergrad and my art history masters, I need to learn as much German as humanly possible! Translating art history texts is an important part of the art history masters curriculum. So I’ll be in New York City for the next year, learning German and hitting up all my favorite museums, galleries, and brunch spots. Hit me up if you’d like to join me!

xoxo,

Chloe ❤

grad

Link to my review on the Public House of Art’s Website

Hey everyone! Hope you’re having a sunny Wednesday.

It’s been a very exciting week for me. I just found out that I am going to be interning at Sotheby’s this summer in New York City! I will be very sad to leave Amsterdam (temporarily!!) but very happy to start a new artistic chapter in my life. More to come on that later 🙂

My review of the “The Awesome” at the Public House of Art here in Amsterdam was also published on their website. You can check it out here. Many thanks to the Public House of Art for featuring me!

I’m looking forward to the next Thursday’s launch of new artwork at the Public House of Art. Check out the event here. 

Until next time!

xoxo, Chloe ❤

Seth Siegelaub: Beyond Conceptual Art (Stedelijk Museum-Amsterdam)

Hey everyone!

Today I’d like to discuss a unique exhibit I recently saw at the Stedelijk Museum, a modern art museum in Amsterdam. “Seth Siegelaub: Beyond Conceptual Art” is a retrospective of the work of Seth Siegelaub, famous New York curator, author, collector, and bibliographer. He was a contemporary Renaissance man whose impact on the art world cannot be overstated. What I find most important about Siegelaub was his multi-disciplinary approach to art. He did not view art in a vacuum, but in the context of physics, media, history, globalization, politics, and english. Furthermore, his definition of art reached from abstract conceptual art to the study of headdresses and textiles. In “Seth Siegelaub: Beyond Conceptual Art,” the Stedelijk Museum introduces a new generation to the legacy of Siegelaub. What is this legacy? That the interconnectedness of everything can be felt through the practice, collection, and study, of art.

This is what one sees when one first enters the exhibit:

IMG_4818

Transferred. To transfer is, by definition, to cause to pass from one to another. It can refer to a tangible transfer, such as the passing of goods from one person to the next. It can also be used to explain non-tangible exchanges, such as the transfer of ideas into words. So why focus on this idea of transference in Siegelaub’s retrospective? I think that Siegelaub’s multi-disciplinary approach to art is actually a web of transferred ideas, manifested in words, motifs, and abstract concepts. In order to understand what I mean, I’ll take you through the exhibit as I saw it. At the end, I’ll show how underlying themes are transferred in Siegelaub’s understanding of the world.

* * *

The first part of the exhibit that I explored was Siegelaub’s large collection of headdresses.  Siegelaub started collecting headdresses in the early 1980s, and continued until his death. His collection spans the whole globe, with pieces from six continents. They represent a range of cultures, materials, and techniques. And yet, together, they form a beautifully coherent whole. Take a look.

IMG_4812 (1)

These headdresses, all arranged on thin white pedestals of varying heights, form a unit. But upon closer inspection, it is clear that these ornate works are very distinct from one another. This first headdress is made from banana fiber, cane marrow, bark, leaves, pigment, and feathers. It is called a “Rom Kon” mask and was made on Ambrym Island, Vanuatu, in the mid-20th century.

IMG_4813

This second headdress was made at the same time by the Kuba People of the Democratic Republic of the Congo. It is composed of wood, vegetal fiber, shells, and glass.

IMG_4816

By displaying these headdresses together, Seigelaub indicates that people all over the world have intrinsic similarities and interests, simply due to the fact that we are all human. Cultures that are oceans from one another independently chose to wear headdresses, whether for protection from the elements, for spiritual reasons, or for stylistic choice. It is a fascinating and beautiful thing to think that people from different places have similar desires, fears, and solutions to their problems. Taken together, this collection is both a celebration of humanity’s similarities and an exposé of cultural individuality.

I am curious here about the relevance of transference in this aspect of the exhibit. The transference of human emotion to creation is clear.  The fear of the elements and the need to protect oneself, as well as religious sentiment and the creation of spiritual garment, are apparent precursors to the use of headdresses in various cultures. But what kind of exchanges may have occurred that allowed ideas to bounce between existing groups? Do trade and tourism impact the resources available to the creators of these headdresses, influencing how they construct them? And do these activities expose them to different styles and intellectual concepts that affect their approach to making headdresses? These are questions I would like to find an answer to in Siegelaub’s writings, and in literature on anthropology/textiles in general. I am not a student of globalization, but perhaps, as Siegelaub suggests, we all ought to be. After all, art is a reflection of globalization, and the two are intrinsically tied.

* * *

Siegelhub was also an avid collector of textiles. His collection was just as global as his compilation of headdresses, and it indicates his fascination with woven and stitched art. The majority of these textiles are non-western, and feature complex patterns and motifs like the one featured below. These textiles are displayed in horizontal glass cases throughout the exhibit. The light in the room is kept low to preserve the pigments of these fragile works, but their beauty radiates through the dim glass.

IMG_4828 (1)

IMG_4832 (1)

Many of the textiles, despite being from different cultures, share similar motifs. Geometric shapes, symmetrical patterns, and motifs within larger shapes are abundant. I wonder if, like the global popularity of the headdress, these similarities can be attributed to some extent to human nature. If there is something, perhaps, psychologically pleasing about a repetition and straight lines, or a perfect circle. Does the human mind find pleasure in symmetry? Is there a transference of human desire into the methodical design of a textile?

I also believe that the transference of ideas and materials between cultures is an important element of Siegelaub’s study of textiles. The same logic can be applied here that I explained in relation to headdresses, but more so, I believe, because textiles are a more portable medium of art. They form the basis of clothing, blankets, tapestries, scarves, prayer shawls, rugs, and any other fabric-based item. One can trace the pattern of human movement by mapping the transference of motifs and ideas between cultures. For instance, it is easy to see when Europeans began trading with and colonizing the East, because they brought back with them notions of the “Orient” that manifested themselves in European textiles. The appearance of Japanese, or mock-Japanese fans and parasols became prominent in female quarters, as well as layers of velvet and silk shawls shading the windows and covering wooden furniture. Mens’ smoking rooms saw increasingly padded upholstery in vivid colors. Oriental rugs became commonplace in western Europe. Such trends of global movement can be seen on a smaller scale as well, as cultures diffused information through local interactions.

* * *

After examining Siegelaub’s collections of headdresses and textiles, I moved on to the area of the exhibit examining his work as a curator. Siegelaub is often referred to as the Father of Conceptual Art. His early years were spent curating in New York City. The ideas he fostered during this busy time would influence his later endeavors.

One of Siegelaub’s most famous projects was the exhibit, January Show, which he curated in 1969. Up until then, conceptual art was popular, but people were unsure how to package it to the public. Siegelaub presented conceptual art in a way that was digestible and purchasable, by expanding its definition to encompass things that were tangible, and others that were arrangeable. What I mean is, a book or a poster could inhabit a wealth of meanings that made it conceptual. An entire space could be arranged to convey a meaning, and that in itself was conceptual art. In reference to January Show, Siegelaub said, “The exhibit consists of (the ideas communicated in) the catalogue; the physical presence (of the work) is supplementary to the catalogue.” The artists whose work was represented in January Show were Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner.

You can view the catalogue here. 

Congratulations. You are now in possession of conceptual art.

Because the concepts outlined in the catalogue are the art itself, the physical representations of these ideas in the show are supplementary. As Lawrence Weiner indicates in the catalogue, “the piece need not be built.” And so, the fact that we do see the piece built is merely by chance. Had it not been built, the concept would have remained.

Here are some photographs of the physical representations of January Show. 

“Art as Idea as Idea,” by Joseph Kosuth (1968).

IMG_4844

IMG_4848

This concept, as explained in the catalogue, is composed of the artist creating nine dictionary definitions. Each time one of the definitions is exhibited, he instructs that it be enlarged to different, specific, dimensions. In this way, the work has no constant shape. It doesn’t even have a constant form, because there are nine different definitions that can be printed to follow the directions of “Art as Idea as Idea.” Here I have shown ‘Painting’ and ‘Definition,’ but there are seven other options. Both the small version printed in the book and the larger canvas version represent “Art as Idea as Idea.”

The photo below is of Lawrence Weiner’s “AN AMOUNT OF BLEACH POURED UPON A RUG AND ALLOWED TO BLEACH” (1968).

IMG_4840

In this work, Weiner emptied a can of bleach on the carpet of the exhibition the day before it opened. What makes this work a fine example of conceptual art is that it is not about the final image of the bleach on the rug. While it is visually arresting, it is supplementary to the statement, “an amount of bleach poured upon a rug and allowed to bleach.” This statement is the act of art-making. It represents the control the artist has on the space around him. The rug is not bleached; it is ALLOWED to bleach. In this way, Weiner shifts the focus of the work to the act of making, and what this says about individual will and power, rather than the aftermath of this power.

I think of it a bit like physics (which becomes even more relevant later in this post). In physics there is a concept of kinetic energy vs. potential energy. Kinetic energy is the energy one has from moving, such as the flow of a river. Potential energy is the energy one has from positioning in space, such as the water right at the brink of a waterfall. In AN AMOUNT OF BLEACH,  the potential energy of the artist, instructed to bleach the carpet, is the focus. His position in the world allows him to yield force to create a lasting impact.

It seems to me that Siegelaub deliberately chose to curate works that revolved around the idea of transference. The ideas present in the catalogue of January Show could only be seen if they were transferred into something physical, but the original idea, written down in the catalogue, was purest in the minds of visitors. Transference is what allowed these ideas to be seen by more and more people. Reprints of “Art As Idea As Idea” hung in various countries may be secondary to the concept, but they transfer its meaning to new audiences.

I linked you with the exhibit catalogue. You are now a PART of this transfer.

* * *

Siegelaub’s intellectual publications are also a central aspect of this exhibit. After Siegelaub moved from New York to Paris, he became interested in mass-media and left-wing politics. He created the International Mass Media Research Center and started writing bibliographies, one of which was titled Marxism and the Mass Media. Towards a Basic Bibliography. Before the internet made it easy to do research, bibliographies like Siegelaub’s were immensely important for researchers.

This exhibit focuses on the influence of mass media and leftism on Siegelaub’s personal ideology and publications. Siegelaub was inspired to create a radical daily newspaper that would combine his passion for conceptual art with its natural ties to journalism, mass media, and politics. The following is an excerpt from a draft of this paper.

IMG_4838

One can see the influence of conceptualism in the layout and design of this page. It is handwritten, and squeezed for space at the top. The focus is clearly on the message of the work, rather than its aesthetics, a key characteristic of conceptual art. It is also a sly yet direct attack on censorship. It is easy for the reader to decode this page for the censored words, yet it does not technically break any rules. This loophole underlines the absurdity of censorship. The content of the page also shows Siegelaub’s opinion that censorship is a direct attack on the First Amendment. Such a stance reveals his radical political leanings. He believes in free expression, which was associated with a leftist political mindset at the time.

We can also see how political views translated (or transferred, if you aren’t completely sick of that word yet) into a visual, almost artistic, work.

* * *

Lastly, the exhibit ends with a video installation entitled, “The Causality of Hesitance.” It was created posthumously to explore Seigelaub’s ideas about time and causality in physics in a visual way. Although the curator and researcher died before he could finish exploring these theories, he left behind a wealth of bibliographic information about the relationship between and time and causality. Furthermore, his interest in these ideas stems (transfers!!) from his early involvement with conceptual art. One cannot separate the two, as conceptual art in the 60s often dealt with questions of time . And so, “The Causality of Hesitance” takes Seigelaub’s theories and builds off of them, creating a work that is both thought-provoking and chilling. Here is a still of the video:

IMG_4834

In “The Causality of Hesitance,” a man in a turtleneck monologues his ideas about time, all the while acting out these ideas. It sounds confusing, but let me give you a few examples:

  • He says, “Hesitation carves time…” [he hesitates] “…out of time.”

The very act of hesitating is a demonstration of what he is saying.

  • And then he starts talking about radio broadcasting, and its relationship to time. He wonders how long it takes for words to bounce from one person’s mouth, through the radio, and into another’s living room.

“How… long… does… it… take?” He pauses between each word, emphasizing the delay of broadcasting, and how that warps our perception of time.

  • The man then begins to talk about time in relation to art.

“Can an artwork hesitate itself?” he asks. “Can we make an exhibit about not saying?”

If art is about saying something to a viewer, what happens when it says nothing? Is this still art? He says yes, that “unvoiced ambivalence can be an artwork.” It is a poetic utterance, to hesitate. Choosing to not speak, choosing to not represent, elongates time.

  • “Am I talking now?” he hesitates. “How about now?

Does the act of talking cease when he pauses?

  • “Is anyone else listening?”

(Are you still reading?)

  • “Let us make time itself lose its patience. Let us remain. Let us dwell.”

He goes on with this point for a while, dwelling eternally on the concept of dwelling.

  • At this point, I wonder if this man has said anything substantial. I realize that this whole speech is one longgggg hesitation. A deliberate choice to not say anything but to leave us on the verge. He stretches time by explaining time. After all-
  • “Time is material.”

How long did it take you to read this portion of this post? One minute? Five? Did you reread any of it? Was anything that I wrote down actually substantial? Are you very confused?

Can you argue, now, that time is NOT material?

^This is the state of mind I was left in after watching this film. My friend and I had watched this together, and upon leaving, decided we could not see the rest of the Stedelijk that day. We were too emotionally drained from wondering whether we were wasting time or if time was dragging and we needed to sit somewhere and have a sandwich.

* * *

 

“Seth Siegelaub: Beyond Conceptual Art” has been one of the most interesting exhibits for me to review. I enjoyed focusing on a curator, rather than an artist, and looking at art from many different disciplines. I found myself drawing scientific parallels and investigating the evolution of politics. (How does physics relate to conceptual art? How has leftist ideology regarding censorship changed since the 1950s?) I think that this is the main takeaway of this exhibit. I hope that you take it upon yourself to view the world from many perspectives. It is not enough to look at art from a purely artistic lens. It is also not enough to view science or politics or communications in a vacuum.

Start small. I purchased a book at the Stedelijk called “How to Read Donald Duck: Imperialist Ideology in the Disney Comic.” Grow your frame of references and you will be able to draw more interesting and complex conclusions from any discipline you study.

Until next time!

 

xoxo, Chloe ❤

Galaxy Jar DIY

Feeling ~trippy~ ? Make a galaxy jar out of simple household items! Well, if fabric dye is not typically in YOUR household, then a trip to the craft store might be necessary. In my house we have 100+ jars of acrylic paint but no milk or detergent, so there’s that.

Anyway

Follow these simple steps to add some trippy, out-of-this-world vibes to your home.

MATERIALS

IMG_0366

-Cotton Balls

-Fabric Dye (I used some from an old tie-dye kit. Food coloring also works, if you can find pink, purple, and blue food coloring.)

-2 Glass jars

-Glitter

-A long stick (Mine’s a shish kebob stick)

-Water

STEP 1: Fill up one glass jar a little less than halfway.

IMG_0367

STEP 2: Pour in a few drops of fabric dye, and mix thoroughly with a stick. Just use one color.

IMG_0368

STEP 3: Put a bunch of cotton balls in the mixture. I used around 10 because they are very absorbent. Push them down with the stick so that they are completely submerged, and there is only a thin layer of mixture on top.

STEP 4: Sprinkle glitter on top and mix with the stick.

IMG_0372

STEP 5: Place another bunch of cotton balls on top of this mixture. Meanwhile, pour water into the other jar until it is 1/4 filled. Then use a different color of dye to dye this mixture.

IMG_0376

STEP 6: Pour the new mixture into the original jar. Put more glitter on top of this and mix with the stick.

IMG_0377

STEP 7: Repeat steps 5 and 6 with yet another color of dye, or just alternate between the two colors. Do so until the jar is mostly filled.

IMG_0382

STEP 8: Screw on the lid and find a good spot to house your new galaxy jar 🙂

IMG_0388

P.S. If you like the look of the coaster my galaxy jar is resting on, check out the Alcohol Ink Coaster DIY here: https://canvasandcrumpets.com/2015/01/02/alcohol-ink-coasters-diy/

xoxo, Chloe ❤

Wandering Around Chelsea

Helloooo all!

It’s honestly embarrassing how long it has been since I last posted. February. I’m cringing. Taking five hard classes at Tufts this semester completely took over my life. I think I dream now in a strange combination of english and french 1 vocab. (J’adore les croissants…) And what’s even more ridiculous is that the last few months have been filled with art even if I haven’t had the time to write about it! In the last few months I helped curate an exhibit of student work at the Tufts Art Gallery, helped plan a spring gallery party, went to LONDON and saw only my favorite Pre-Raphaelite paintings of all time, and went to the Neue Galerie to see the Egon Schiele exhibit.

But the good news is, I’m back in New York and the only thing on my mind is art. Living it, seeing it, and writing about it. I will definitely backtrack a little and post about all the exciting art-related things that I saw and did this spring, but I’m also excited to keep moving forward. Today I had brunch with my friend Vera and we attempted to go to the new Whitney on Gansevoort. Unfortunately, the line wrapped around the block and apparently the museum now requires tickets (?) to skip the line. Maybe this was always a thing and I’m only noticing now because everyone and their mother is going to the Whitney, but I’m definitely getting a ticket this week.

Instead, Vera and I decided to do a little gallery hopping. We started at the Kitchen on 19th street and 10th ave, which is currently showing the Parsons Fine Arts 2015 MFA Exhibition. It was incredible. I cannot wait to see what these artists continue to create. Then we crossed the street to see Yayoi Kusama’s “Give Me love.” You may have seen pictures on Facebook or Instagram of your friends covered in colorful dots posing in a room also filled with colorful dots. It’s part of an interactive exhibit that’s even more fun and visually appealing in person. After pealing stickers off ourselves, we walked through the David Zwirner Gallery to see the rest of Kusama’s exhibit, as well as a wonderfully ethereal exhibit of Lisa Yuskavage’s pastels and oil paintings. Lastly, Vera and I dipped into the Paula Cooper Gallery, which curated Bruce Conner’s 70’s punk photographs to a T.

By the end of the day, Vera could no longer feel her feet and I was dying for a glass of water. Our next stop? My apartment for late lunch and back-to-back episodes of SVU. Nothing could derail this beautiful dream. But, on our way to the E train, a sign caught our eye. “15,000 Books by Artists Inside.” Like a black hole of happiness (questionable metaphor) we were sucked into Printed Matter, a shop that sells artists books. While I had heard of artists books– essentially books that are considered art in their own right– I had never seen a shop devoted entirely to the genre. What followed was an hour of pouring over zines crafted with pom-pom spines and pamphlets smaller than my hand. And of course– well, I’ll save it for a post alllllll about Printed Matter.

Can’t wait to go into more detail about everything I saw today! Gallery-hopping was a very rejuvenating way to return to New York and start the summer. It’s comforting to know that there IS life outside of college. People eat real food. Food that is NOT cereal. And they wear outfits that DON’T include sweatpants! And go places that are NOT libraries!!!

My summer of art has just begun. The exhibits-to-see list on my wall is massive, starting with the Frida Khalo exhibit at the Botanical Gardens. I’m also very intrigued by the Russian Modernism exhibit at the Neue Galerie. Anyone wanna join me?

xoxo, Chloe ❤