peter horjus: david, a series of men #1, 8vhg phq¶v ......conceptual-based projects in...

6
IDEALLY, AN ANNUAL open call exhibition gives us a summa- ry of trends happening in the art world, and it can provide insight LQWR FXUUHQW HYHQWV DV ¿OWHUHG WKURXJK WKH H\HV RI DUWLVWV 7KLV past year has provided plenty of material: Alton Sterling and the cops killed in Baton Rouge, the Confederate Monuments being voted for removal, the massacre at Pulse nightclub in Orlando, WKH DSSURDFKLQJ HQG RI 2EDPD¶V SUHVLGHQF\ +LOODU\ YV %HUQLH WKH ULVH RI 7UXPS 7KH ³/RXLVLDQD &RQWHPSRUDU\ ´ DW WKH 2JGHQ 0XVHXP RI 6RXWKHUQ $UW RSHQ WR DUWLVWV RYHU \HDUV ROG ZKR DUH OLYLQJ LQ /RXLVLDQD SXUVXHV ERWK DYHQXHV ,Q RQH H[DP- ple of political subject matter, James Billeaudeau’s Salute (Fear of Fascist America) UHVRQDWHV EHFDXVH RI 7UXPS DQG WKH debate surrounding him, despite the fact that he is not depicted in WKH SLHFH $V IRU WUHQGV LQ WKH DUW ZRUOG WKH ³/RXLVLDQD &RQWHP- SRUDU\´ IHDWXUHV VXFK D ZLGH YDULHW\ RI ZRUN WKDW LW FRXOG JLYH WKH YLHZHU YLVXDO ZKLSODVK :DONLQJ DURXQG WKH JDOOHULHV RQH might identify established painting movements (Op art, Hard- HGJH SDLQWLQJ 3RS 6XUUHDOLVP DQG ([SUHVVLRQLVP DV ZHOO DV conceptual-based projects in untraditional media, video, photog- UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK LQ the art community, but it makes for a schizophrenic installation, HVSHFLDOO\ LQ WKH PDLQ JDOOHU\ 2QH JHQUH VWDQGV RXW IURP WKLV FKDRV WKH SRUWUDLW 7KH\ FRPH LQ D ZLGH YDULHW\ RI VW\OHV KHUH 6XVDQ ,UHODQG¶V Jena and Annie LV D ULRW RI SDWWHUQ LQ D 3RS DUW WZLVW RQ WKH 1DELV SDLQWHU 9XLOODUG 7UR\ 'XJDV¶V )UDQFHVFR JLYHV XV D IURQ- tal close-up of a face constructed out of collaged labels, and Aron Belka’s Self Portrait XVHV RLO RQ FDQYDV LQ DQ H[SUHVVLRQ- ist tradition, its effect coming from tonal contrast and expressive EUXVKZRUN 3HWHU +RUMXV¶V SRUWUDLWV DUH TXLOWHG GHSLFWLRQV RI PDOH subjects, such as David, A Series of Men #1 DZDUGHG WKLUG SODFH 7KH PDWHULDO LV XVHG PHQ¶V VKLUWV DQG +RUMXV DGDSWV WKH IHPLQLVW DVVRFLDWLRQV RI TXLOWLQJ WR WKH VWHHO\ EOXHH\HG VWDUH RI D EHDUGHG \RXQJ PDQ ZLWK ZDYLQJ KDLU ,QVWDOOHG DW WKH HQWUDQFH to the exhibition, these portraits serve as an introduction to the “LOUISIANA CONTEMPORARY 2016” Ogden Museum of Southern Art New Orleans, LA ___ Louisiana Art 2016 BY REBECCA LEE REYNOLDS Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V VKLUWV

Upload: others

Post on 16-Nov-2020

1 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

IDEALLY, AN ANNUAL open call exhibition gives us a summa-ry of trends happening in the art world, and it can provide insight LQWR� FXUUHQW� HYHQWV� DV� ¿OWHUHG� WKURXJK� WKH� H\HV� RI� DUWLVWV��7KLV�past year has provided plenty of material: Alton Sterling and the cops killed in Baton Rouge, the Confederate Monuments being voted for removal, the massacre at Pulse nightclub in Orlando, WKH�DSSURDFKLQJ�HQG�RI�2EDPD¶V�SUHVLGHQF\��+LOODU\�YV��%HUQLH��WKH� ULVH� RI�7UXPS��7KH� ³/RXLVLDQD�&RQWHPSRUDU\�����´� DW� WKH�2JGHQ�0XVHXP�RI�6RXWKHUQ�$UW��RSHQ�WR�DUWLVWV�RYHU����\HDUV�ROG�ZKR�DUH�OLYLQJ�LQ�/RXLVLDQD��SXUVXHV�ERWK�DYHQXHV��,Q�RQH�H[DP-ple of political subject matter, James Billeaudeau’s Salute (Fear of Fascist America)��������UHVRQDWHV�EHFDXVH�RI�7UXPS�DQG�WKH�debate surrounding him, despite the fact that he is not depicted in WKH�SLHFH��$V�IRU�WUHQGV�LQ�WKH�DUW�ZRUOG��WKH�³/RXLVLDQD�&RQWHP-SRUDU\´�IHDWXUHV�VXFK�D�ZLGH�YDULHW\�RI�ZRUN� WKDW� LW�FRXOG�JLYH�

WKH� YLHZHU� YLVXDO�ZKLSODVK��:DONLQJ� DURXQG� WKH� JDOOHULHV�� RQH�might identify established painting movements (Op art, Hard-HGJH� SDLQWLQJ�� 3RS� 6XUUHDOLVP�� DQG� ([SUHVVLRQLVP�� DV�ZHOO� DV�conceptual-based projects in untraditional media, video, photog-UDSK\��DQG�VFXOSWXUH��7KH�YDULHW\�LV�VXUHO\�D�VLJQ�RI�VWUHQJWK�LQ�the art community, but it makes for a schizophrenic installation, HVSHFLDOO\�LQ�WKH�PDLQ�JDOOHU\��� 2QH�JHQUH�VWDQGV�RXW�IURP�WKLV�FKDRV��WKH�SRUWUDLW��7KH\�FRPH�LQ�D�ZLGH�YDULHW\�RI�VW\OHV�KHUH��6XVDQ�,UHODQG¶V�Jena and Annie �������LV�D�ULRW�RI�SDWWHUQ�LQ�D�3RS�DUW�WZLVW�RQ�WKH�1DELV�SDLQWHU�9XLOODUG��7UR\�'XJDV¶V�)UDQFHVFR��������JLYHV�XV�D�IURQ-tal close-up of a face constructed out of collaged labels, and Aron Belka’s Self Portrait��������XVHV�RLO�RQ�FDQYDV�LQ�DQ�H[SUHVVLRQ-ist tradition, its effect coming from tonal contrast and expressive EUXVKZRUN��3HWHU�+RUMXV¶V�SRUWUDLWV�DUH�TXLOWHG�GHSLFWLRQV�RI�PDOH�subjects, such as David, A Series of Men #1���������DZDUGHG�WKLUG�SODFH���7KH�PDWHULDO�LV�XVHG�PHQ¶V�VKLUWV��DQG�+RUMXV�DGDSWV�WKH�IHPLQLVW�DVVRFLDWLRQV�RI�TXLOWLQJ�WR�WKH�VWHHO\�EOXH�H\HG�VWDUH�RI�D�EHDUGHG�\RXQJ�PDQ�ZLWK�ZDYLQJ�KDLU��,QVWDOOHG�DW�WKH�HQWUDQFH�to the exhibition, these portraits serve as an introduction to the

“LOUISIANA CONTEMPORARY 2016” Ogden Museum of Southern Art

New Orleans, LA___

Louisiana Art 2016BY REBECCA LEE REYNOLDS

Peter Horjus: David, A Series of Men #1, ������8VHG�PHQ¶V�VKLUWV�

Page 2: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

show’s overriding theme of identity, whether pursued in person-DO� VW\OHV� RU� LQ� UHODWLRQ� WR� LVVXHV� RI� JHQGHU�� VH[XDOLW\�� DQG� UDFH��7KH�LQVWDOODWLRQ�RI�WKH�VKRZ�ZRUNV�D�OLWWOH�WRR�REYLRXVO\�WR�VWDJH�these thematic trends by grouping artworks dedicated to race in the small gallery near the elevator, and works related to gender LGHQWLW\�LQ�WKH�KDOOZD\�RXWVLGH�WKH�PDLQ�JDOOHU\� Inside the small gallery by the elevators, I was drawn to Amazing Grace (ft. Barack Obama)���������D�YLGHR�ZRUN�FXUDW-HG�DQG�GLUHFWHG�E\�0DUJRW�+HUVWHU�IRU�WKH�FROOHFWLYH�³%XUHDX�RI�&KDQJH�´�D�NLQG�RI�WKLQN�WDQN�GHGLFDWHG�WR�XVLQJ�DUW�WR�FUHDWH�LQ-VWLWXWLRQDO�FKDQJH��7KH�YLGHR�IHDWXUHV�DQ�$IULFDQ�$PHULFDQ�PDQ�wearing a Statue of Liberty costume—the character, played by -DVRQ�%U\H��LV�D�ZDONLQJ�DGYHUWLVHPHQW�IRU�/LEHUW\�7D[�6HUYLFH��7KH�SDOH�JUHHQ�UREH�LV�VLPSO\�WKURZQ�RYHU�KLV�MHDQV�DQG�VQHDNHUV�when we meet him on a random New Orleans street, walking towards the camera and presumably to his job, holding the tax SODFDUGV�ORRVHO\�LQ�KLV�KDQG��:H�ZDWFK�WKLV�EODFN�6WDWXH�RI�/LEHU-W\�GRLQJ�KLV�ZRUN�RQ�6W��&ODXGH�$YHQXH�DW�WKH�EDVH�RI�WKH�EULGJH�WR�WKH�/RZHU�1LQWK�:DUG��DQG�WKHQ�ZH�IROORZ�KLP�DV�KH�ZDONV�past the Jefferson Davis monument—a subtitle refers to the City Council’s vote to remove Confederate monuments from the city, OLVWLQJ�WKLV�RQH�DV�³VFKHGXOHG�IRU�UHPRYDO��GDWH�7%'�´�

� 7KH�ZDONLQJ�WRXU�LV�LQWHUVSHUVHG�ZLWK�IRRWDJH�RI�RWKHU�Confederate monuments in town and protests, beginning with a -DQ�������SURWHVW�DW�/HH�&LUFOH�DQG�HQGLQJ�ZLWK�D�-XO\������%ODFN�Lives Matter protest at Lee Circle after the Alton Sterling video ZDV�UHOHDVHG��,Q�EHWZHHQ�ZH�VHH�LPDJHV�VRXUFHG�IURP�SXEOLF�UH-FRUGV��D�VWLOO�SKRWR�RI�:DWHU�6FRWW�LQ�1RUWK�&KDUOHVWRQ��YLGHR�RI�7DPLU�5LFH��D�KLVWRULFDO�SKRWRJUDSK�RI�WKH�(PDQXHO�$0(�FKXUFK�in Charleston, cropped photographs of the eyes of each victim of WKH�(PDQXHO�$0(�PDVVDFUH��7KH�JUDLQLQHVV�DQG�SRRU�TXDOLW\�RI�these last photographs is distracting, but it refers to their source in public records and the collective’s commitment to using public VRXUFHV�WR�H[SRVH�SUREOHPV��7KH�LQWHQWLRQDO�VWUDWHJ\�LQFOXGHV�WKH�WLWOH¶V� UHIHUHQFH� WR�3UHVLGHQW�2EDPD�VLQJLQJ�³$PD]LQJ�*UDFH´�GXULQJ�WKH�HXORJ\�IRU�5HY��&OHPHQWD�3LQFNQH\��RQH�RI�WKH�YLFWLPV�RI� WKH�(PDQXHO�$0(�VKRRWLQJV� LQ�&KDUOHVWRQ��$QRWKHU�SHUIRU-mance of the song serves as a soundtrack to Brye’s walk through WKLV�ODQGVFDSH�RI�UDFLDO�YLROHQFH� As the video concludes, the screen goes black and tran-VLWLRQV�WR�%U\H�SRVHG�DJDLQVW�D�ZKLWH�EDFNJURXQG��+ROGLQJ�WKH�plastic torch out in front of him like the actual Statue of Lib-erty, he slowly turns, as if shedding the light of liberty on his DXGLHQFH�� 7KHUH¶V� D� VDG� LURQ\� WR� %U\H¶V� FKDUDFWHU�� SHUIRUPLQJ�

James Billeaudeau: Salute (Fear of Fascist America), ������'LJLWDO�SLJPHQW�SULQW�

Page 3: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

0DUJRW�+HUVWHU��%XUHDX�RI�&KDQJH����Amazing Grace (Ft. Barack Obama),�������9LGHR�LQVWDOODWLRQ�

the icon of liberty while we watch protests against the reality RI�D�ODFN�RI�HTXDOLW\��7KH�KRSHIXOQHVV�RI�WKH�VWDWXH�IDOOV�DSDUW�LQ�face of this fake version, played as an advertisement, devoid of DFWXDO�OLEHUW\�RU�HTXDOLW\��$QG�%U\H¶V�H\HV�VHHP�YDFDQW�DV�ZHOO��KLV�ERG\�JRLQJ�WKURXJK�WKH�PRWLRQV��7KHUH¶V�DQ�HPSWLQHVV�WR�WKH�statues too, often ignored until protests this past year reinvested WKHP�ZLWK�QHZ�HPRWLRQ��7KH�DXGLR�FRXQWHUV�DOO�RI�WKLV�FROGQHVV��7KH�UDS�QDUUDWLRQ�E\�.�*��¿OOV� LQ� WKH�EODQNV�E\�H[SUHVVLQJ� WKH�ODFN�RI�HTXDOLW\��ZKLOH�D�EHDXWLIXO�UHQGLWLRQ�RI�³$PD]LQJ�*UDFH´��FUHGLWHG�WR�.�*�¶V�PRP��FRXQWHUV�WKDW�DQJHU�DQG�IUXVWUDWLRQ�ZLWK�D�SURPLVH�RI�UHGHPSWLRQ�� 2Q�¿UVW�YLHZLQJ��WKH�LPSDFW�ZDVQ¶W�DV�VWURQJ�DV�D�VHF-RQG�YLHZLQJ��7KH�YLGHR�ZRXOG�EH�PRUH�HIIHFWLYH�LQ�LWV�RZQ�VSDFH��where the audio could be much louder and where it would not KDYH�WR�FRPSHWH�ZLWK�DUWZRUNV�RQ�WKH�IDFLQJ�ZDOO�� ,QVWHDG�� WKH�viewer is forced to recognize connections between the video and 'DQ�7DJXH¶V�Old Glory Holes �������DQG�%HQMDPLQ�'LOOHU¶V�The Great Shield ��������D�FDUYHG�ZRRGHQ�YHUVLRQ�RI�WKH�*UHDW�6HDO�RI�WKH�8QLWHG�6WDWHV��DV�ZHOO�DV�RWKHU�ZRUNV�LQ�WKH�VDPH�VSDFH��Overcrowded installations have been an ongoing problem with WKH� ³/RXLVLDQD� &RQWHPSRUDU\´� VHULHV�� HVSHFLDOO\� LQ� WKLV� VPDOO�JDOOHU\��2QH�ZLVKHV�WKDW�WKH�PXVHXP�ZRXOG�HLWKHU�JLYH�WKH�H[KL-ELWLRQ�PRUH�VSDFH�RU�HGLW�WKH�VHOHFWLRQ�PRUH�WR�¿W�WKH�VSDFH�WKDW�LV�DYDLODEOH��� 2QH�RI�WKH�FRQVHTXHQFHV�RI�WKH�RYHUFURZGLQJ�LV�WKDW�WKH�WKHPH�RI�UDFH�LV�VR�EURDGO\�XVHG�WKDW�LW�VWDUWV�WR�IDOO�DSDUW��&KULV�Lawson’s Manifestation of a Coconut��������VHHPV�WR�KDYH�EHHQ�placed here because it uses a Zulu coconut, even though its glit-ter-covered forms betray a whimsical sensibility at odds with the UHVW�RI� WKH� URRP��0RUH�DSSURSULDWH� LV� WKH�FRQFHSWXDO�KXPRU�RI�Ernest Joshua Littles’s fake promos, but they are practically hid-GHQ�RQ�D�FRUQHU�ZDOO��Tracks Promo��������LPDJLQHV�DQ�DSS�WKDW�tracks the user’s movements in case police stop the user because, DV� WKH� DG� VXJJHVWV�� \RX� ³¿W� WKH� GHVFULSWLRQ�´�7KH�Green Book Promo 2� ������� LV� DQ� DOWHUQDWLYH� WR� WKH� ³%OXH�*XLGHV�´� WUDYHO�JXLGHV�DVVRFLDWHG�ZLWK�H[SHQVLYH�WDVWHV�DQG�SDWULFLDQ�FXOWXUH��,Q�

contrast, the Green Book�RIIHUV�³SURWHFWLRQ�IRU�WKH�$IULFDQ�$PHU-LFDQ�WUDYHOHU�´�%RWK�SLHFHV�XVH�VDWLUH�WR�TXHVWLRQ�UHFHQW�FDVHV�RI�SROLFH� EUXWDOLW\�� 7L�5RFN� 0RRUH� LV� DQ� REYLRXV� FKRLFH� IRU� WKH�JDOOHU\��DV�KHU�ZRUN�KDV�FRQVLVWHQWO\�SOD\HG�ZLWK�WH[W�DQG�UDFH��Cracka House��������EXLOGV�DQ�DOWDUSLHFH�RXW�RI�6DOWLQH�ER[HV��,W�KDV�D�:DUKROLDQ�WRXFK��HYRNLQJ�KLV�%ULOOR�ER[HV��EXW�WKH�ER[HV�are intended here to evoke the visually absent associations of the WHUP�µFUDFNHU¶�WR�ZKLWHQHVV�DQG�ORZHU�FODVV�� 7ZR� ZRUNV� UHÀHFWLQJ� RQ� IHPDOH� LGHQWLW\� DUH� DOVR� LQ-VWDOOHG�LQ�WKLV�JDOOHU\��.HOOL�6FRWW�.HOOH\¶V�Fighting Back�������offers a mysterious dream-like scene of an army of nude female ¿JXUHV�OLQNHG�E\�EOXH�OLQHV�WR�D�EOXH�FORXG�ÀRDWLQJ�DERYH��7KH�crocheted border suggests that the substrate was a doily or a table-FORWK��DQRWKHU�QRG�WR�����V�IHPLQLVW�DSSUHFLDWLRQ�RI�WHFKQLTXHV�WUDGLWLRQDOO\�SUDFWLFHG�E\�ZRPHQ��$QRQ\PRXV�EURZQ�¿JXUHV�VXU-round the women with pointed guns, and the title suggests that WKHVH�ZRPHQ�DUH�UHDG\�WR�EDQG�WRJHWKHU�DQG�¿JKW�EDFN��7KH�GH-piction of being targeted manages to capture the feeling of being targeted in today’s world, resonating with the battle surrounding RXU�¿UVW�IHPDOH�SUHVLGHQWLDO�FDQGLGDWH�RU�WKH�RQJRLQJ�EDWWOH�IRU�HTXDO�SD\�DQG� UHSURGXFWLYH� ULJKWV��.HOOH\�XVHV�D�6XUUHDOLVW� DS-proach to express the frustration and indignation that women feel DERXW�FRQWLQXHG�DWWHPSWV�E\�PHQ�WR�FRQWURO�WKHLU�ERGLHV��� -HQQD�.QREODFK¶V�Title IX��������WDFNOHV�WKH�VDPH�WKHPH�IURP�D�YHU\�GLIIHUHQW�DUWLVWLF�SRLQW�RI�YLHZ��2Q�YLHZ�DUH�GLJLWDO�c-prints and a letterpress print from a performance in which the DUWLVW�WRRN�D�JURXS�RI�VHYHQ�IHPDOH�IULHQGV�WR�D�VKRRWLQJ�UDQJH��7KH�LPDJHV�DUH�GLVSOD\HG�LQ�D�JULG�RI���SKRWRJUDSKV�DFURVV�DQG���GRZQ��DQG�WKH\�DUH�XQL¿HG�E\�D�FRORU�SDOHWWH�WKDW�LQYROYHG�RXW-¿WWLQJ�KHU�SDUWLFLSDQWV�LQ�EULJKW�RUDQJH�FORWKLQJ��QDLO�SROLVK��DQG�HDU�SURWHFWLRQ��7KH�RUDQJH�FRORU� V\PEROL]HV�JXQ�YLROHQFH�� DQG�ZDV�XVHG�LQ�WKH�³:HDU�2UDQJH´�FDPSDLJQ�IRU�1DWLRQDO�*XQ�9L-ROHQFH�$ZDUHQHVV�'D\��7KH�FRORU�SRSV�DJDLQVW�WKH�EULJKW�JUHHQ�landscape background as the women aim at the letterpress print, ZKLFK�GLVSOD\V�WKH�ZRUG�³27+(5´�LQ�D�FLUFOH��7KH�SHUIRUPDQFH�HQDFWV�LGHDV�IURP�FULWLFDO�WKHRU\�DERXW�DWWDFNLQJ�WKH�³RWKHU´�VLP-

Page 4: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

-HQQD�.QREODFK��Title IX, ������'LJLWDO�&�SULQW�

SO\�EHFDXVH�WKH\�DUH�³RWKHU�´�D�GHIHQVLYH�PRYH�XVHG�WR�VKRUH�XS�RQH¶V�RZQ�VHOI�LGHQWLW\��7KH�WKHRU\�FDQ�EH�XVHG�WR�H[SODLQ�GRPHV-tic violence, and the choice of the shooting range location and a IHPDOH� FDVW� DVVRFLDWHV� WKHVH�ZHDSRQV�ZLWK� VHOI�SURWHFWLRQ��%XW�these women are turning the tables, perhaps hoping to obliterate WKH�GDPDJLQJ�FRQVHTXHQFHV�RI�RWKHULQJ��7DNLQJ�EDFN�SRZHU��WKH\�VXEYHUW�WKH�XVXDO�DVVRFLDWLRQV�EHWZHHQ�JXQV�DQG�PHQ��7KH�WLWOH��Title IX�� UHIHUV� WR� WKH� ����� HGXFDWLRQ� DPHQGPHQW� WKDW� SURKLE-its discrimination based on sex in federally funded educational SURJUDPV��%HVW�NQRZQ�WRGD\�IRU�SURYLGLQJ�IHPDOH�VWXGHQWV�ZLWK�more access to college sports, the policy is used here to suggest EURDGHU�DSSURDFKHV�WR�HTXDOLW\��,Q�IDFW��.QREODFK�FKRVH�$XJXVW����IRU�WKH�SHUIRUPDQFH�EHFDXVH�LW�LV�1DWLRQDO�:RPHQ¶V�(TXDOLW\�'D\� It’s been one full year since the Supreme Court legalized JD\�PDUULDJH��DQRWKHU�ODQGPDUN�FDVH�LQ�HTXDOLW\��DQG�QRZ�PRUH�DWWHQWLRQ�LV�EHLQJ�SDLG�WR�WUDQVJHQGHU�LGHQWL¿FDWLRQ��(YHQ�6XVDQ�Bowers’s ceramic urinal sculpture, Sweet Mouth of Carcharodon Carcharias �������� REYLRXVO\� UHIHUULQJ� WR� 'XFKDPS¶V� Foun-tain, reads differently in light of the recent North Carolina case RI� WUDQVJHQGHU� EDWKURRP� ULJKWV�� 2WKHU� DUWZRUNV� WKDW� WDNH� RQ�/*%74�LVVXHV��RU�VLPSO\�GHSLFW�QDNHG�PHQ��DUH�JDWKHUHG�WRJHWK-

HU�LQ�WKH�KDOOZD\�RXWVLGH�WKH�PDLQ�JDOOHU\��$UWKXU�6HYHULR¶V�WZR�photographs of male nudes romanticize the form, including one in which the blurred movement of the model’s arms resembles wings, turning him into an angel (Angel�� ������� %ULDQ� %DUEL-HUL¶V�XQWLWOHG�QXGH�UHFDOOV� WKH� ODWH���WK�FHQWXU\�SKRWRJUDSKV�RI�7KRPDV�(DNLQV��7ZR�RI�5RQQD�+DUULV¶V� SHQLV� SRUWUDLWV��ZKLFK�KDYH�EHHQ�VKRZQ�EHIRUH�DW�7XODQH�8QLYHUVLW\��DUH�RQ�GLVSOD\��DQG�Anonymous Male #3� ������� ZDV� DZDUGHG� ¿UVW� SODFH�� +DUULV¶V�choice to focus on the sexual organs seems an explicit retort to WKH�VH[XDO�REMHFWL¿FDWLRQ�RI�ZRPHQ��5DWKHU�WKDQ�PDNH�KHU�PDOH�subjects enticing, Harris’s detailed depiction of body hair reach-HV�D�OHYHO�WKDW�LV�GLVWXUELQJ�DQG�VTXHDPLVK�� Paul Rizzo’s mixed media works revel in chalky pastels WKDW�UHFDOO�FKLOGUHQ¶V�FORWKLQJ�RU�5RFRFR�SDLQWLQJV��7KH�UDLQERZ�in Surface Rainbow �������UHDGV�DV�WKH�V\PERO�RI�JD\�SULGH�LQ�this context, and Just Men �������UHPDNHV�D�FRYHU�RI�³-XVW�0HQ´�magazine, featuring a shirtless hunk in jeans and an explicit view RI�JD\�VH[�LQ�WKH�XSSHU�ULJKW�FRUQHU��7KH�FDPS�TXDOLWLHV�RI�5L]-]R¶V�ZRUN�FRQWUDVW�ZLWK�0D[[�6L]HOHU¶V�UHÀHFWLRQV�RQ�JHQGHU�ÀX-LGLW\��7KH�PRQRFKURPH�WULSW\FK�SDLQWLQJ�Boyhood Dream (First Time at the Beach)��������XVHV�LPDJHV�RI�PDJLF�WULFNV�DQG�WR\V�that Sizeler played with as a kid to express the childlike wish

Page 5: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

WR�EH�WUDQVIRUPHG�IURP�D�JLUO�LQWR�D�ER\��IXO¿OOHG�E\�WKH�FHQWUDO�LPDJH�RI�6L]HOHU�GLVSOD\LQJ�KLV�EDUH�FKHVW�IRU�WKH�³¿UVW�WLPH�DW�WKH�EHDFK�´�,Q�Abracadabra (My Hand on T)���������6L]HOHU�LPDJ-ines what his hand would look like if he started taking testoster-one (full disclosure: I curated Sizeler’s work this past spring at WKH�812�6W��&ODXGH�*DOOHU\�� Of the three photographs by Chris Berntsen, Flayr in the Blue Dress� ������� UHSXUSRVHV� WKH� UHFOLQLQJ� IHPDOH� QXGH�pose from art history for an African-American man wearing a EOXH�GUHVV��SRVHG�RQ�D�ORJ�EULGJH�LQ�D�ZRRGHG�ODQGVFDSH��7KLV�UH-make of Matisse’s Blue Nude (Memory of Biskra)��������TXHHUV�the modernist canon, but its methods feel too obvious next to the more subtle Xavier Cruising ��������7KH�VXEMHFW��;DYLHU��LV�framed in a lush green landscape with palm fronds hanging over-KHDG��7KH� UHG� SDWWHUQ� RQ� KLV� VKLUW� EDODQFHV� LWV� FRPSOHPHQWDU\�FRORU� LQ� WKH�EDFNJURXQG��6WDQGLQJ�RQ� D�SDWK�� WKH� VXEMHFW� JLYHV�us a blank stare while starting to unbuckle his belt for what must EH�D�VH[XDO�SDUWQHU��+DQJLQJ�IURP�RQH�RI�KLV�EHOW�ORRSV�LV�D�%HWW\�Boop keychain, a small detail that individualizes the subject and UHÀHFWV� WKH�DUWL¿FLDOLW\�RI�FXOWXUDO� VWHUHRW\SHV�RI� VH[XDOLW\��7KH�hypersexualized femininity of Betty Boop seems to contradict the ambiguity of the situation, in which we don’t get to identify the JHQGHU�RI�KLV�SDUWQHU�EXW�DUH�DVNHG�WR�VWDQG�LQ�WKDW�SHUVRQ¶V�SODFH��7KDW�WHQVLRQ�LV�ZKDW�DFWLYDWHV�WKH�LPDJH�� In the main gallery, painting takes over, with pride of place UHVHUYHG�IRU�WZR�ODUJH�DEVWUDFW�SDLQWLQJV�E\�/XLV�&UX]�$]DFHWD��Viewers are immediately drawn to the bright neon rainbow col-ors of Heroes Tale� ��������DZDUGHG�%HVW� LQ�6KRZ�E\�MXURU�%LOO�$UQLQJ��'LUHFWRU�RI�&RQWHPSRUDU\�$UWV�0XVHXP�+RXVWRQ��7KH�painting almost dances with a syncopated rhythm created by a series of interlocking vertical pieces, some of them falling on a VOLJKW�GLDJRQDO��$�EULJKW� UHG�SLHFH� LQ� WKH�XSSHU� ULJKW�NHHSV� WKH�slivers in place, while the lines of the surrounding shapes are VR� FULVSO\� GUDZQ� WKDW� WKH\� UHFDOO� DUFKLWHFWXUDO� GLDJUDPV�� (DFK�RI�$]DFHWD¶V�SDLQWLQJV�LV�D�VTXDUH�FRPSRVLWLRQ�PDGH�XS�RI�IRXU�SDQHOV�WKDW�EULQJ�WRJHWKHU�IUDJPHQWV�RI�D�VKDSH��,Q�Green Square (Cairo)���������WKH�PDLQ�VKDSH�LV�D�SDOH�EOXH�DQG�JUHHQ�ZLWK�UDQ-GRP�EODFN�GRWV�DQG�GULSS\�UHG�DQG�ZKLWH�OLQHV��$�VTXDUH�VKDSH�LQ�the lower left tilts against the stable edge of the panel, and in the upper left, a grouping of brightly colored slivers creates tension ZLWK� WKH� RWKHUZLVH� RSHQ� VSDFH��+HUH� WKH� QHJDWLYH� VSDFH� GRPL-nates, offsetting its companion, Heroes Tale�� Many of the installation choices in the main gallery VHHP� WR� KDYH� EHHQ� GHFLGHG� E\� FRORU�� 'DYLG� &RODQQLQR¶V�Map 421F7 and Map 80M7 �ERWK�������KDSSHQ�WR�XVH�FRORUV�WKDW�DUH�similar to Azaceta’s, but the installation of his work downplays its more conceptual aspects (full disclosure: Colannino recent-ly graduated from the program in which I teach, where I got to NQRZ� WKRVH�FRQFHSWXDO�DVSHFWV���3ODFLQJ�&RODQQLQR�QH[W� WR� WKH�KLJKHU�SUR¿OH�¿JXUH�$]DFHWD�GHPRQVWUDWHV�RQH�RI� WKH�VWUHQJWKV�RI�WKH�³/RXLVLDQD�&RQWHPSRUDU\´��LWV�PL[�RI�HVWDEOLVKHG�DQG�QHZ�YRLFHV��,Q�WKH�PDLQ�JDOOHU\��ORFDO�IROORZHUV�RI�WKH�DUW�VFHQH�ZLOO�SUREDEO\� UHFRJQL]H� 6KDZQ� +DOO¶V� RUJDQLF� DEVWUDFWLRQV�� .ULVWLQ�0H\HUV¶V�IHWLVK�¿JXUHV��DQG�$UWHPLV�$QWLSSDV¶V�DEVXUGLVW�REVHV-sion with glitter-coated fried chicken, presented this year in the form of two videos, Eating Chicken (Mild) and Eating Chicken (Spicy)��ERWK��������%XW�WKH\�PLJKW�QRW�UHFRJQL]H�QHZHU�YRLFHV�VXFK�DV�&RODQQLQR�RU�5\DQ�6DUWLQ� Deconstructed painting is a visible trend in the main gal-

OHU\��:LOOLDP�'H3DXZ¶V�Frames with Images� ������� LQYHUW� WKH�usual relationship between painting and frame by exaggerating WKH�IUDPH��7KH�ELJ�FHUDPLF�IUDPHV�VXUURXQG�VPDOO�JHRPHWULF�EOXH�SDLQWLQJV��5\DQ�6DUWLQ¶V�FDQYDVHV�DOVR�GHSDUW�IURP�WKH�VWDQGDUG�E\�TXHVWLRQLQJ�WKH�ÀDWQHVV�RI�WKH�FDQYDV�DQG�WUHDWLQJ�WKH�FDQYDV�DV� DQ�REMHFW�� ,Q�Fleur de Lis Couple� �������� WZR�YHUWLFDO� FDQ-YDVHV� DUH�SURSSHG� DJDLQVW� WKH�ZDOO� LQVWHDG�RI� KDQJLQJ� IURP� LW��7KH�FDQYDVHV�DUH�EDUH��VWDPSHG�ZLWK�JROG�ÀHXU�GH�OLV��7KH�XVH�RI�the stamp counters the expectation of expressive brushwork and nods to the omnipresent symbol of New Orleans, thus conjuring DVVRFLDWLRQV�ZLWK�WKH�WRXULVP�LQGXVWU\�DQG�WKH�EXVLQHVV�RI�ORJRV��Cosmic Ash Flower Bed �������LV�D�OXPS\�VWXIIHG�FDQYDV��LWV�WLWOH�calling up Robert Rauschenberg’s landmark painting Bed ��������%ULJKW�PDJHQWD�ÀRZHUV�DQG�SXUSOH�SDOP�WUHHV�VWDQG�RXW�DJDLQVW�a ground of black palm ash that has been smeared over a tropical SDWWHUQHG�IDEULF�IHDWXULQJ�WKH�ÀRZHUV�DQG�WUHHV��7KH�NLWVFK\�IDE-ULF�TXHVWLRQV�WKH�KLJK�DUW�DVVRFLDWLRQV�RI�SDLQWLQJ�� 'DYLG�%RUGHWW�FULWLTXHV�WKH�WUDGLWLRQ�RI�SDLQWLQJ�E\�XV-ing actual objects instead of representing objects on the canvas DV�LPDJHV��+H�DOVR�UHMHFWV�WKH�FDQYDV�VXEVWUDWH��XVLQJ�LQVWHDG�DQ�old door hung horizontally for Secret Truth, Witches Brew, Black-berry Juice���������7ZR�SODVWHU�KDQGV�KROG�D�VWULQJ�RXW�LQ�IURQW�of the surface, creating a curving arc instead of a drawn line, and at left a still life sculpture of a teacup rests on a little pedestal SURMHFWLQJ�IURP�WKH�VXUIDFH��%ODFNEHUULHV�DUH�WKH�WKHPH��SDLQWHG�on the teacup, printed on the fabric around the cup, and offered LQ�IDX[�EODFNEHUULHV�VFDWWHUHG�DURXQG�WKH�FXS��3DWFK�6RPHUYLOOH¶V�Redacted �������LV�DQ�;�VKDSHG�FDQYDV�WKDW�IHHOV�OLNH�WKH�QHJD-tive of Stacks ��������WULDQJXODU�SLHFHV�UHVWLQJ�DJDLQVW�HDFK�RWKHU�on a shelf, as if someone had cut the original canvas apart into IRXU�SLHFHV��2I�6RPHUYLOOH¶V�ZRUN��P\�IDYRULWH�ZDV�WKH�RQH�WKDW�GLG�PDLQWDLQ� WKH� WUDGLWLRQDO� UHFWDQJXODU� FDQYDV�� ,Q�Overgrown �������� D� EODFN� UHFWDQJXODU� VKDSH� WULHV� WR� REVFXUH� D� ODQGVFDSH�EHKLQG�LW��:LWK�FLUFXODU�VKDSHV�SDUWLDOO\�RU�FRPSOHWHO\�FXW�RXW�RI�the black shape, it plays with our desire to see what is behind—to VHH�ZKDW�LV�EHKLQG�WKH�FXUWDLQ��¿JXUDWLYHO\�VSHDNLQJ��RU�EHKLQG�WKH�SLFWXUH�SODQH� In contrast to these meta-narratives about painting are gestures toward horror vacui in the more whimsical pieces such as Shawne Major’s curtains of found objects: beads and jewelry ZRYHQ�WRJHWKHU�WR�FUHDWH�D�FDUSHW�WKDW�EHJV�WR�EH�WRXFKHG��'L[-on Stetler’s giant basket is an entertaining mix of hoses, cords, Christmas lights, boa feathers, a Nintendo controller, tinsel, and HDUSKRQH�FRUGV��6RPH�RI�WKH�SDLQWLQJV�LQ�WKH�KDOOZD\�QRG�WR�3RS�VXUUHDOLVP��3DXO�/H%ODQF¶V�YLVLRQV�IDVFLQDWH��VXFK�DV�7he Bird of Hermes���������LQ�ZKLFK�D�VRXU�JUHHQ�PRQVWHU�VWDQGV�RQ�DQ�RUE�and opens his mouth wide to capture his own twisting append-DJHV��%DW�ZLQJV� FRQQHFW� WKH� FUHDWXUH� WR� LWV� QDPH�� HPEOD]RQHG�DERYH��(YHU\WKLQJ�IURP�WKH�VKDSH�RI�WKH�FDQYDV�WR�LWV�LFRQRJUD-phy recalls medieval art, but read through the local lore of Mardi *UDV�DQG�WKH�WKHRU\�RI�WKH�FDUQLYDOHVTXH��,W¶V�DFWXDOO\�EDVHG�RQ�D�VHFWLRQ�RI�WKH�5LSOH\�6FUROO��QDPHG�DIWHU�D���WK�FHQWXU\�(QJOLVK�DOFKHPLVW��+HUPHV�7ULVPHJLVWXV�ZDV�FRQVLGHUHG�WKH�IRXQGHU�RI�DOFKHP\�� Joshua Chambers’s Fragile and Much Less in Control �������RSWV�IRU�D�PRUH�PLQLPDOLVW�DSSURDFK��,Q�WKH�YHUWLFDO�FDQ-vas, against a background of sticky textured paint that transitions from a grey lavender at the top to a greenish grey at the bottom, DUH�WZR�PDLQ�FKDUDFWHUV��D�EODFN�ELUG�À\LQJ�DERYH��FRQQHFWHG�E\�

Page 6: Peter Horjus: David, A Series of Men #1, 8VHG PHQ¶V ......conceptual-based projects in untraditional media, video, photog-UDSK\ DQG VFXOSWXUH 7KH YDULHW\ LV VXUHO\ D VLJQ RI VWUHQJWK

a thin curving string to a cement block on the ground below, and D�KRRGHG�¿JXUH�O\LQJ�ÀDW�RQ�WKH�JURXQG��FRQQHFWHG�WR�DQ�DLU�WDQN��His hood resembles a diving helmet, making him into a failed -DFTXHV�&RXVWHDX�¿JXUH��7KH�UHGXFWLRQ�RI�WKH�VFHQH�SURPSWV�XV�WR�DVN��ZKDW�KDSSHQHG�KHUH"�7KH�ZRUG�µIUDJLOH¶�LV�EDUHO\�YLVLEOH��VHW�LQWR�WKH�SDLQW�XVLQJ�VWHQFLOV��DQG�EHORZ�WKH�¿JXUHV�LV�ZULWWHQ�LQ�SLQN�WKH�UHVW�RI�WKH�WLWOH��³PXFK�OHVV�LQ�FRQWURO�´�3HUKDSV�WKLV�RUGLQDU\�JX\�LQ�KLV�EODFN�&KXFN�7D\ORUV�KDV�UHDOL]HG�KLV�ODFN�RI�SRZHU�DQG�HJR��D�PRPHQW�RI�UHFRJQLWLRQ�WKDW�KDV�ÀDWWHQHG�KLP�� )UDJLOLW\�LV�DOVR�DW�LVVXH�IRU�$EGL�)DUDK¶V�PL[HG�PHGLD�pieces that subvert the victory obsession of sports by taking it WRR�IDU��Terrible Fans��������RYHUODSV�PXOWLSOH�UHG�VDWLQ�EDQQHUV�dedicated to a local high school football team, the John Curtis 3DWULRWV�� 7KH� SKUDVH� ³,� FDQ� GR� DOO� WKLQJV� WKURXJK� &KULVW� ZKR�VWUHQJWKHQV�PH´�LV�UHSHDWHG�RYHU�DQG�RYHU��VR�PXFK�VR�WKDW�ZH�DUH�SURPSWHG�WR�TXHVWLRQ�WKH�FRQQHFWLRQ�EHWZHHQ�&KULVWLDQ�IDLWK�DQG�WKH�VNLOO�RI�IRRWEDOO��)DUDK�GHOLEHUDWHO\�PHVVHV�XS�WKH�OHWWHU-

ing and the form of the banner throughout the series, using an aesthetics of failure to get under the skin of our cultural assump-WLRQV��� 2QH�RI�WKH�SUREOHPV�RI�WKH�³/RXLVLDQD�&RQWHPSRUDU\´�is that much of the work loses its power when crowded into small spaces like the hallway outside the main gallery, and when LVRODWHG�RXW�RI�LWV�RULJLQDO�FRQWH[W��7KH�IXOO�SUHVHQWDWLRQV�RI�(U-QHVW�-RVKXD�/LWWOHV��:LOOLDP�'H3DXZ��DQG�$EGL�)DUDK�DW�6WDSOH�*RRGV��IRU�LQVWDQFH��ZHUH�PXFK�VWURQJHU�WKDQ�WKHLU�H[FHUSWV�KHUH�PLJKW�VXJJHVW��*LYHQ�WKDW�WKH�DQQXDO�VKRZ�DOORZV�ZRUN�SURGXFHG�in the last two years, it might make more sense to move to a bien-nial format, or to use the annual to focus on how particular artists KDYH�GHYHORSHG�WKHPHV�RYHU�WKH�ODVW�WZR�RU�WKUHH�\HDUV��6XFK�DQ�approach would provide more insight into our local scene, one that the Ogden’s series has proven to be rich in content and di-YHUVH�LQ�VFRSH��������������������������������������������������������������������������

Luis Cruz Azaceta: Heroes Tale,������