Tag Archives: assemblage

Text/Media

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Underdog by Christopher Schneider

We live in a hyper-literate age of endless imagery and short attention spans.

We seldom pause–and really, when do we have time?–to consider the process by which we create meaning for ourselves from the constant  interaction of  words and pictures in books, magazines, on television and the web, on our phones.

In Text/Image, now on view until June 3 in  Ann Arbor Art Center’s Gallery 117,  Detroit-based artist/curator Jack O. Summers has thoughtfully collected for our consideration some  artworks that refer to everyday objects whose meanings “are enhanced or subverted by the multi-dimensional interplay of text and images.” The exhibit concentrates on still imagery, leaving aside the more kinetic treatments of text and image interaction such as  video and animation.

There are several artists represented  in Text/Image who are well known in Detroit for their absurdist take on the news and pop culture, using the vocabulary of comics and newspaper to communicate their point of view.  Ryan Standfest, gifted printmaker, founder of the Rotland Press and trickster artist, composes headlines for his imaginary tabloid newspaper the Modern Vulgarian (#1) that raise more questions than they answer and classified ads that go gleefully off the rails.

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The Modern Vulgarian #1 by Ryan Standfest

William Schudlich, illustrator and self-proclaimed “social zoologist” is clearly a kindred spirit.  Schudlich’s images  employ the visual vocabulary of disposable print media  such as comic strips and have the look of early to mid-20th century comics.  He approaches  visual challenges, he says, “with a dark sense of humor whenever possible.”  Tom Carey’s large relief prints, while ostensibly mining the same classic content as Schudlich and Standfest, project a more modern effect with their vivid colors and lively compositions. The small wooden mutoscopes (flipbooks in wooden boxes operated by pushbutton) created by Andy Malone also fit comfortably with the sensibilities of Schudlich and Standfest by appropriating of a vintage craft and  re-purposing it to make a modern statement.

Two notable Detroit photographers, Christopher Schneider and Bruce Giffen, appear in Text/Image. In Schneider’s Underdog, the word “Hamtramck” printed on the young football player’s jersey adds context and pathos to the inward-looking figure, isolated as his teammate looks away toward the light and movement of the game. His fellow photographer Bruce Giffen, whose sharp and poetic eye is trained on Detroit at all times and in all seasons,  juxtaposes text with context for special resonance in his photo Stay In School.

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Whole Foods by Jaye Schlesinger

Taurus Burns, Dencel Deneau,  Jaye Schlesinger  and Amy Fell all engage in the reification of the ordinary, each one observing with care and archiving with skill the unglamorous objects and often unsightly minutiae of the urban landscape.  Deneau’s small glass mosaics, in particular, are improbably lovely memorials to fleeting moments in the life of a city.

Moving from the grittily observational to the poetic,  Scott Northrup’s gauzy collages are cinematic and  nostalgia-soaked. Self-Portrait with Fruit by John Gutoskey is somehow both cheerful and sad,  and  recalls the innocence and the pain of a young boy growing up gay in the Midwest. Like Gutoskey’s quasi-installation, Believers by Catherine Peet hardly needs text to make its point, harking back to medieval altars of a pre-literate age.

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School Bus by Dencel Deneau

Before the printing press and universal literacy, the visual impact of letters was as important as the narrative meaning.  Randy Asplund creates contemporary works using the same methods as medieval illuminators;  the pigments, grounds,  text and image are all carefully chosen for their symbolic resonance, each re-enforcing the meaning of the other elements. Taking the opposite tack, Alvey Jones subverts the meaning of text in Language Text and Circuit Board. Each element of the artwork is designed to be unintelligible–the book is (literally) Greek to us, the circuit board holds its meaning in a code we are unable to penetrate.

Barbara Brown, eminent Ann Arbor book artist and curator of a yearly survey of all things art and book-related, entitled Beyond Words, here uses her collection of handmade building blocks, Metropolis, to think playfully about the way reordering words or letters can alter narrative.

Text/Image can be understood best as a survey featuring a cast of accomplished artists, any one of whom could fill the gallery with well-crafted and well-thought-out work. The art in this exhibit thoughtfully uses language and image together to address  a variety of themes  from autobiography to social commentary, and while curator Jack O. Summers has put together an interesting and beautiful exhibit, the subject is far from exhausted and possibly never can be.

For more information about Text/Image go here

 

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Kathyrose Pizzo: After A Thousand Mornings

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Installation: After A Thousand Mornings by Kathyrose Pizzo

The mother/child relationship over time, through sickness, care and–finally–death, forms the emotional core of Kathyrose Pizzo’s  moving solo exhibit After A Thousand Mornings, now on view through March 25th at Hatch Gallery in Hamtramck. Multiple sclerosis, her mother’s diagnosis, has given the artist a front row seat at this most mysterious and universal human rite of passage, and she has clearly thought long and deeply about the experience of her mother’s decline and her part in it.  She observes in herself the shifting emotional dynamics of care and conflict, love and resentment, grief and recovery, rendering them in physical space through the patient assemblage of sticks and strings.

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Departure (foreground)

The artworks are binary in nature, with wooden constructs that seem to either support or confine cloud-shaped gray pillows.  The softness of the cloth clouds, juxtaposed with the hardness of the provisionally composed structures, shifts in meaning  from piece to piece, the cloud in one artwork seeming to refer to the artist, in another, to her mother. Sometimes the cloud is  imprisoned by the scaffolding and at others it seems to float above and away.  Throughout, the two elements circle and collide, metaphors for a kind of emotional dialog between these intimately connected human beings.

Caught eloquently captures the dilemma of the cared-for and the caregiver, mutually trapped by circumstance. A wire net  that mimics the failing synapses of her mother’s brain confines both the cloud and the wooden support to the ground, metaphorically trapping both mother and daughter beneath the disease.

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Caught

Pizzo is also interested in examining the end of life through the lens of  social rituals in cultures past and present. She particularly acknowledges the influence of Joseph Campbell, a philosopher known for his work in comparative mythology and religion. She says of these rites, “Tributes to the departed are the events that make us human, that define the distance between us and the stars.”

This influence is most directly referenced in Departure. The artist has created a small scale replica of a funeral pyre, upon which a lovingly pillowed figure rests.  Underneath,  a chaotic and disordered pile of kindling  mirrors the artist’s mental state.

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Calypso

Many of the works in After a Thousand Mornings refer to the passage of time and convey a sense of waiting.  Wall pieces such as Calypso and Episode 1: The Ladder are improvised and complex structures created  by the artist using aluminum tape, which is then partially stripped away as the composition emerges. The title work of the show takes on the theme of time’s passage most directly, with 30 tiny wooden scaffolds topped by cotton clouds and arranged in a grid –a kind of  calendar–quietly  and elegantly filling one wall of the gallery.

The incremental passage of time that forms the rhythm of life and death is the ultimate theme of After A Thousand Mornings. The artworks are a physical manifestation of this process, small moments turning into large ones, one moment adding to another, making up a life and bringing us inevitably to its end. Kathyrose  Pizzo has found meaning here:  “Personally witnessing both how disease can bring forth  greater understanding of the human condition and the unavoidable destiny of all life is central to my work.”

For more information about Hatch Gallery and After a Thousand Mornings, go here.

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After A Thousand Mornings