Dadism. If I weren't an Abstract Expressionist, I'd be a Dadaist. A movement about the uselessness of Art is my kind of thing! The ideas of Dada informed so much of 20th Century Art, and I've been lucky enough to work directly with originals by the likes of Schwitters.
Which is why A Dad was such an easy film for me to program.
It's an experimental art film, as you would expect, but it's also a film about our expectations. It's a celebration of 100 years of Dada, but at the same time, it's calling us to the floor to defend our thoughts on art in general. It presents us images, and then makes us guess whether or not they have honest baring. The section about buying an un-playable DVD or Un-playable Blu-Ray of film we're watching for outrageous sums of money is a flat-out declaration of war against the current art and collectors scene.
The fact that this film plays so thoroughly with Dada means that it will not be for everyone - your feelings for Dad itself may well determine your feelings towards the film, but it is a 100% real experience of what Dad is at its heart, and for that, I truly believe that all viewers will find substance within in. Perhaps annoyance as well, but I'm 100% sure Tristan Tsara would have preferred it that way...
A Dad shows as a part of the Shorts Program 3 - The Truth in Art showing at the Century Redwood City on Thursday March 2nd at 330pm, Saturday March 4th at 1030am and Monday March 6th at 930pm. It also shows at the Hammer Theatre in Downtown San Jose on Friday, March 10th at 145pm.
You can learn more at conceptfilms.net
Ye another discovery I would not have made with UBU.com, People Like Us (aka Vicki Bennett) made this beautifully-layered, deep rumination on the nature of the forward movement of technology, the roles played by each segment, and the importance of seeing that, in the end, we're all trapped, going boldly forward because there is no reverse.
It takes a 1950 industrial film of the same name, and layers hundreds of other images, moving and static, in with it, giving it a feel that seems to exist in the video boundaries between the work of filmmakers like Bruce Conner, Larry Jordan, or Harry Smith, and video artists like Pippiloti Rist or Peter Campus. She's commenting on the force of technology development and how, post-WWII, it became all encompassing.
Surrealism is one of the few art movements that I was hesitant to accept. Dali? Sure. Breton? Slightly harder. Magritte? Nope. I came around, and the current exhibit at the Cantor Art Museum at Stanford is just about perfect. No works that I knew (other than Eraserhead) but tons of artists I know and love, including Joseph Cornell and Marcel Duschamp!
The Exhibit runs until mid-April, and you shoudl combine it with a trip to the Anderson right next door!
The idea of Art as Life Saving Instrument is one of the reasons I love looking at Art beyond the Academy. When a friend brings an idea to every artist he can find to create a massive-scale art project around John Riegert, brilliant documentarian Julie Sokolow (Aspie Seeks Love) is there to capture the magic!
The key here is the combination of the subject, as John is am amazingly charismatic human being, and the technique of the appreciation. You can make a doc about the life of a great person, but this isn't that; that merely comes through because of what we're given of the event. The show, 250 artists giving us their intrepretation of John, is so smart, and I wish I could have been in Pittsburgh for it. The art created is marvelous, and the pieces that we experience are photogenic, but moreso, they're raw. It's as if they are created from the stuff we're experiencing on-screen. That alone makes The John Show worth watching, but it also drags us deeper and deeper into the event, and when we finally experience it with the actual attendees, it's a powerful moment, and it makes the entire process into a feel-good experinece, which ultimately is what that show, and the entire project, was meant to be!
The John Show is a part of Shorts Program 3 - The Truth in Art showing at Century 20 Redwood City Thu, Mar 2 3:30 PM, Sat, Mar 4 10:30 AM Mon, Mar 6 9:30 PM and at the Hammer Theatre in Downtown San Jose Fri, Mar 10 1:45 PM
No one reads the text on the wall.
You know how often we curators hear that at meetings, typically when Museum Educators are about? Too often. The fact is, yes, a lot of folks don't read labels, and fewer still read wall text, and part of the reason why so many people have rejected modernist art (besides the entire "My Kid Could Do That!" thing) is that museums feel the need to give text that doesn't connect with those that DO read it, often going into details that are just flat out irrelevant to the work at hand, and dismissing the impact of the actual work in favor of a wider-scale reading within the art community. People distrust wall text, and art curators in general, which is why A Wall Pitted By A Single Air Rifle Shot is actually pretty amazing
You see, there is no Air Rifle shot pitting the wall. I am not 100% sure, but I believe that there was never intended to be, and that makes the text, giant above the supposed, and non-existant, event it documents, the actual artwork. This would be most interesting on it's own (and would make it easy to create your own work of art for your living room with merely a stencil and some gumption!
The fact is, this is what people think of when they read wall text from some curator about modern art. It's all lies, covering up the fact that nothing's really there. The idea of putting a distinctly deceptive statement, in large, friendly letters, saying there is something there that is not is so much of what people who hate Modern Art point to when they say they hate modern art. It's the idea that what you're being told is not only a lie, but they're proud of that fact. The MoMA, which has had this on display at various times, seems over-joyed to have this 'work' up, and the average Joe who has no background in Art History will go searching for the pockmark that indicates that the text is true, only to come away with nothing.
Which is what a lot of people say when they encounter modern art anyways.
The problem is us curators have to make this relevant to the viewer. That's not hard for folks who get Conceptual Art, but to those without that sort of background, it's much more difficult. Any attempt to really explain this in a way that a non-art-steeped viewer would come away not only not angry, but fulfilled, would require reams of text, which is somethign museums aren't willing to do, because they see it as a no-win. Give 'em just enough text, and let 'em download the app, as the saying goes these days. But there IS value in text on walls. ENORMOUS value in text on walls. There is an interaction that happens where you can see the wall text as a work itself, and that gives greater impact not only to the words, but to the things attched to the words. With something as deep as A Wall Pitted By A Single Air Rifle Shot you need a lot of text, and yeah, a lot of people won't read it, but at the same time, it will do nothing but support the work and those that do encounter it will come away with not only a deeper understanding, but a better view on the role of the piece within the collection. You'd be hard-pressed to find a museum that will put out even a 200 word text piece, but that is not nearly enough for many works.
I watch people at museums. You'll notice that a vast majority of my photos from museums have people in them, interacting with the art/artifacts. I observe how they move, how they consider, how they view. No one, save for the absolute obsessives like myself, looks at every work. No one, save for absolute obsessives like myself, spends much time with most of the pieces they DO take in. This does not, in any way, detract from the inclusion of those pieces, and I would argue makes them more important in giving the viewer the sensation that they are immersed in something. To me, THAT is a massively important idea, that there is far more available to me than I can possibly take in, and I can choose what I can take in and what I can let go. Text should have that feeling, and sadly, so few museums today are willing to give it a go.
Christopher J Garcia - Curator, Fan Writer, Podcaster, and a guy who just loves art.