Stop Me Feeling is Claire Morgan’s inaugural solo show in the United States. Frist Center curator Trinita Kennedy discovered her work at Art Basel Miami and organized an exhibition of six recent works by Morgan, showcasing an intricate installation, cabinet sculptures, and works on paper and canvas.
Born in Belfast, Northern Ireland, and currently living and working in Newcastle, England, Morgan has lived in many urban areas and developed a curiosity as to how animals adapt to our own manufactured world. Her work ruminates on our complex relationship with the natural world. She is able to create breathtaking encounters between humans and animals, and life and death. Refusing to prescribe a precise message about her artwork, Morgan invites viewers to contemplate these ideas of beauty and destruction, environmentalism, artificiality, and transience.
Appropriate for Music City, Morgan often borrows titles and lyrics from songs and poems for her artwork. The Exhibition’s title Stop Me Feeling finds its roots in a song made famous by Johnny Cash.
Her signature works include organic and inorganic elements, such as taxidermied animals, insects, bits of plastic, and dandelion seeds. She then creates a three-dimensional geometric shapes of varying scales utilizing nylon thread. Within these complex and colorful geometries, Morgan creates a narrative with animals wandering in and out of these etherial forms.
A self-taught taxidermist, Morgan finds animals after they have been killed or died from natural causes. Curator Trinita Kennedy takes note of “The reverence with which she preserves the dead animals through taxidermy,” and how it “sharply contrasts with the carelessness of other humans toward them while they were alive.”
Within You, Without You is a cabinet sculpture displaying a small dunnock bird hidden among a jungle of brightly colored polythene. This foraging bird that often depends on camouflaging itself within trees is left feeling oddly vulnerable amidst this safely dense, yet threateningly colorful environment. The sculpture’s title is borrowed from George Harrison’s song on the Sgt. Pepper’s Lonely Hearts Club Band album.
If You Go Down To The Woods Today occupies its own entire room at the Frist, featuring a muntjack (a tiny deer native to the UK) following three butterflies into an overwhelming geometric cloud of orange polythene suspended on nylon thread. The massive installation’s title features borrowed lyrics from “Teddy Bears’ Picnic,” an ominous children’s song that warns “If you go down to the woods today, you better not go alone…It’s safer to stay at home.” Morgan refuses to tell viewers how to think, but successfully introduces a new perspective on ourselves and the world around us.
Claire Morgan’s exhibit Stop Me Feeling will be on display at the Frist Center for the Visual Arts from February 10 through May 7. See more of Morgan’s work at www.claire- morgan.co.uk.
In honor of Marilyn Murphy‘s 37 years of service to the Vanderbilt Department of Art, The Vanderbilt University Fine Arts Gallery is currently exhibiting Realism Subverted – a collection of drawings and paintings featuring dreamlike scenes in which reality and fantasy are cleverly fused together.
Hailing from Tulsa, Oklahoma, Murphy draws great influence from the action of wind and clouds. This, alongside the unforgettable image of sugar cane fires in Queensland, Australia present themselves again and again in Murphy’s artwork. Both muses are beautifully depicted in Oasis and In the Clouds, pictured above.
Her interest in film noir is also made apparent in the content of her artwork. Her figures are rendered with the utmost attention paid to light and shadow, creating a mysterious atmosphere. She presents her characters in curious, investigative situations, emphasizing the acts of seeing, discovery, and creative processes. More often than not, Marilyn enjoys creating narrative images reminiscent of film stills, often playing up an air of mystique and an aura of fascination.
As a child, her mother often took her on factory tours, of which the machinery and images of power and industrialization infiltrate her work. She also draws inspiration from art deco architecture, and dessert cookbooks! A prolific artist, Murphy has done series upon series of dangerous desserts, floating objects, fluffy clouds, inverted architecture, complex machines, 1940’s era figures, maps, floating paper, and the looming danger of natural disasters. Wielding quite the formidable intellect and a propensity for dreaming, Marilyn is able to collage these images into spectacular works of art, utilizing everything from graphite, to colored pencils, and oil paint.
Murphy displays a healthy sense of humor blended together with an intense work ethic and unmatchable creative talent. Her artwork has been shown in over 300 exhibitions internationally. It has been featured in many public and private collections, such as the Kemper Collection in St Louis, the Boston Museum School, the Siena Art Institute in Siena, Italy, and the Oklahoma Museum of Art. The Frist Center for the Visual Arts in Nashville, Tennessee, featured a survey of her work in 2004, and she participated in a two-person exhibition at the Huntsville Museum of Art with Bob Trotman. She is represented by Cumberland Gallery in Nashville, Adler and Co. in San Francisco, Carl Hammer Gallery in Chicago, and Blue Spiral Gallery in Asheville, North Carolina.
Realism Subverted will be on display through March 3rd, 2017. The Fine Arts Gallery is located in Cohen Memorial Hall, 1220 21st Ave. S., on the western edge of the Peabody College campus. Gallery hours are Monday through Friday from 11 a.m. to 4 p.m., and Saturday and Sunday from 1 to 5 p.m.
Ragnar Kjartansson’s The Visitors is a nine channel video installation arranged in a black room on the second floor of the Frist. Each camera is positioned in one of forty-three rooms in a historic mansion in New York, where Ragnar Kjartansson and seven friends begin a musical performance sitting alone in eight individual rooms. The ninth camera is focused on the back porch of the house where a large group of people are sitting.
The musicians listen to the group via a pair of headphones, accompnaying Kjartansson on a cello, piano, drum set, banjo, accordion, and guitar. Without visual cues from their fellow performers, the begin to play a very complex and long musical composition. The song itself ebbs and flows in emotional crescendos and diminuendos. Kjartansson pulls inspiration from Icelandic poet, Ásdís Sif Gunnarsdóttir, borrowing lines from her work, including the performance’s haunting mantra: “Once again, I fall into my feminine ways.”
The music evolves from meditative and melancholic to a thunderous intensity. Lasting for about an hour and a half, the song is full of quiet, mysterious, contemplative moments, alongside loud, emotional outbursts. With each artist playing in isolation, the piece explores ideas of relationships and collaboration. The length of the performance alone lends itself to contemplating endurance in production and spectating.
Eventually, characters on each screen interact with each other and move between films. While the characters walk from screen to screen, the audience moves to follow, blurring the line between audience and performance. As the video ends, each performer gathers in a single room, where they migrate out of the home, continuing their melody into the distance of the Hudson River Valley.
Frist Center Chief Curator, Mark Scala, says that Kjartansson “…pushes the limits of endurance for himself and his collaborators, he congenially accepts that audiences will come and go as they please, experiencing the work in its entirety or in brief episodes. But…the reward of extended viewing is a heightened perception of differences in the repetition of a scene, musical phrase, or physical action. The whole world is contained in these variations.”
The Visitors is certainly worth staying to view the entire performance. The music is captivating, and the composition in its entirety is a romantic, mournful rhapsody. It manages to become a portrait of the audience as well as the performers, showcasing their unique personalities and relationships, perhaps mirroring our own. The immersive installation will certainly leave you feeling enchanted.
The Frist is currently offering free admission to view The Visitors until February 9th, 2017 while they are transitioning exhibitions.
The 15th annual Art Basel at Miami Beach came to a close on Sunday. It featured nearly 300 galleries from 29 countries in just five days. Commonly the art market’s largest week of activity, Art Basel faced uncertainty in sales due to slowed growth in art markets, the U.S. presidential election, Brexit, and the presence of Zika in Miami. Although the halls of the Miami Beach Convention Center were reportedly less crowded, dealers reported steady business. In times of political uncertainty, writer Alexander Forbes for artsy.net explains that it will take some time for any Trump or Brexit inspired policies to be enacted, and even more time after that to take effect on the art market. Even then, their interaction with the art market will be unpredictable. Galleries with diverse programs and international involvement will fare well. Of course, Art Basel witnessed a small shift toward directly political artworks, due to the current political and economic conditions weighing heavily on artists and dealers alike.
The sculpture park featured Glenn Kaino’s “Invisible Man” (2016) as a centerpiece. The aluminum figure stands on a large concrete plinth. From behind, the figure is rendered in full textural detail portraying a man surrendering with his arms up. The front half of the sculpture is sheared off into a flat, mirrored plane. Since the the killing of Michael Brown by a Ferguson police officer, the “hands up, don’t shoot” gesture has become an iconic protest.
Paintings, films, sculptures, photographs, installations, and performances from around the globe filled Miami. Hyperallergic’s Rob Colvin details a plethora of paintings from international contemporary artists in the article, “Painting According to Art Basel Miami Beach.” Art Basel featured surrealist, Leonor Fini’s “Chthonian Deity Watching over the Sleep of a Young Man” (1946), which was created at a time when female artists weren’t really supposed to depict men in relaxed or vulnerable poses.
On the other end of the painting spectrum, Katherine Bernhardt’s explosive “Untitled” (2016) is very street art inspired, rendered in spray paint and acrylic. “Light Landscape 2” (2016), by seasoned Art Basel Painter Alex Katz is one of, if not, the largest paintings exhibited.
Over the course of 15 years, Art Basel in Miami has doubled its size and witnessed the formation of hundreds of satellite fairs. The number of galleries in Miami has increased from 6 in 2002 to over 130 today.
An article on Artnet details the opening of the Sumida Hokusai Museum in Tokyo on November 22nd. The museum features the work of Katsushika Hokusai, a Japanese artist best recognized for his The Great Wave off Kanazawa. This iconic 19th Century woodblock print, from his “36 Views of Mount Fuji” series will be on display in the museum alongside changing exhibitions featuring a collection of 1,800 paintings by the artist. The museum also features a recreation of Hokusai’s Susanoo-no-Mikoto Yakujin Taiji no Zu, which had been lost in the Great Kanot Earthquake in 1923, as well as Sumidagawa Ryogan Keshiki Zukan, a 23 foot long scroll recovered from going missing for over a century when it was taken abroad.
Hokusai was a famous artist, best known for his illustrations, paintings, and prints done in the ukiyo-e genre, featuring a seemingly hedonistic urban Japanese lifestyle. It wasn’t until his 70’s when Hokusai created one of the art world’s most iconic images, nicknamed The Great Wave. The print can be seen in across the globe in museums from New York, Boston, Chicago and LA. The print’s original conception was rooted in commercialism. The “36 Views of Mount Fuji” series was intended to showcase Mount Fuji as a sacred icon of Japanese identity that had its own cult following. The prints enjoyed attention on the souvenir market, as they were easily reproducible. Japanese art historians are hesitant to call The Great Wave a definitive representation of their artistic culture because woodblock prints in that style were regarded as a form of expression and commercial printing, not fine art.
Today, The Great Wave enjoys status as a one of the most reproduced artworks in the world. It has been referenced in films, modern graphic design, video games, album artwork, and even reproduced as a sculpture. A smaller version of the work is even featured as an emoji!
This Saturday, November 12th, at 10:00 AM, Regina Jose Galindo, an internationally recognized performance artist will be premiering a public performance piece in the Vanderbilt Football Stadium. Entitled Comunidad, this piece calls upon the Latinx community to exhibit its resilience in troubling times. Galindo is setting out to “generate a real experience of the strength of the community,” rather than just a pictorial representation.
Regina was born in Guatemala and lives in Guatemala City. As a poet and an artist, her work explores the ethical implications of social injustice. She uses her own body in performance art pieces to illustrate how institutional violence can impact the bodies of women and minorities around the world. Her often graphic, courageous pieces serve as reenactments of violent history. Regina calls on her audience to remember this history and use that memory as a tool against social injustice.
Galindo calls on the Latinx community of Nashville to create Communidad in the following video: http://www.vanderbilt.edu/clas/regina-jose-galindo
Other members of the Nashville community are invited to observe the performance piece as well.
For more information, or to RSVP, click here.
Last Wednesday was the 15-year anniversary of the passage of the Patriot Act – an Act of Congress whose abbreviation (USA PATRIOT), expanded, describes, “Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism.” The Patriot Act was passed into law immediately following the terrorist attacks in the fall of 2001, without receiving much scrutiny. In hindsight of its passing, legislators began to realize the significance of the laws they put into place and how they could potentially subvert federal privacy laws. Since the tragedies of September 11, 2001, Congress has adopted quite a few new laws that many citizens feel interfere with the delicate balance between combating domestic terrorism and maintaining our own civil rights. To date, hundreds of American factions have attempted to pass resolutions against the Patriot Act, stating they will not comply with much or all of its restrictions.
One such restriction of the Patriot Act was the federalization and strengthening of airport screening. At the baggage claim of the San Francisco International Airport, travelers were greeted by conceptual artist, Michele Pred. Clothed in 1960’s-era flight attendant dress, Pred gifted tiny pocket knives reading, “Official Air Travel Replacement Knife” to departing commuters. The 2.25 inch knives Pred presented are the most common type of pocket knife confiscated by TSA officers. In regards to the chosen text, Pred stated in an interview with Hyperallergic: “The text that I had printed on them was intended as a somewhat humorous way of driving home the notion that our focus on security has not only taken things away from us, but has not clearly explained what it has given back.” Pred did receive a Free Speech and Expressive Activities Permit and permission from the airport after an extensive application process.
Her performance was an extension of a group exhibition through the FOR-SITE foundation in San Francisco, called Home Land Security. Her “Encirclement” installation features hundreds of confiscated items from airports arranged in a ring, intended to call attention to the small personal cost that comes with growing airport security. The exhibition is housed in the Presidio, a former military base overlooking the Bay area. Home Land Security brings together contemporary artists making work to reflect on the complexity of national security. The show will be on display through December 18, 2016.
ArtFields is a public charity created by the Lake City, SC Creative Alliance, whose mission is to contribute to the area’s education and community through creative and cultural development, connecting people through the arts.
Art fields is a weeklong celebration and competition honoring artists of the Southeast. Over 400 submissions by emerging and established artists will be displayed in locally owned venues, such as renovated warehouses, upscale restaurants, boutiques, and art galleries. The program is offering life-changing amounts of money to artists of all media who live in Southeastern states. A panel of judges made up of acclaimed artists and educators will be evaluating the work and awarding over $100,000 of prize money up for grabs. $50,000 for the Top Prize, $25,000 for Juried Panel prize, and two $12,500 People’s Choice. Various smaller prizes will be awarded, including $1,000 for a portrait painting contest!
The submission deadline is November 16, 2016, and the event will take place April 21-29, 2017.
Visit http://www.artfieldssc.org/ for more information.
Inka Essenhigh is a New York based painter whose surrealist paintings feature dramatic figure distortions, moody palettes, impossibly vibrant hues, and mythical landscapes. She manages to transform simple every-day situations into extraordinarily fantastic scenes from a fictitious world. Drawing on imagination, Essenhigh creates intricately detailed topographies, pulling viewers into a whole new realm of existence.
Her influence by modern Surrealism is especially apparent in In Bed, depicting a malformed humanoid blob writhing in a sea of undulant, animated blankets, battling an army of its own inner demons. She often includes influential, dark, psychological intimations, inviting a contemplation of the unknown. Viewers are then lent to the mercy of their own imaginations.
Essenhigh also revives myth and antiquity, often including characters of lore, gods, goddesses, nymphs, sprits, and elves in her paintings. Green Goddess II and similar are redolent of animism. The woodlands are depicted as a sentient creature, leaving the relationship between nature and humanity equivocal.
Spring Bar Scene displays a hallucinogenic theme, casting slimy, green characters in a boozy, uncouth atmosphere. The bargoers seem raucous; they sway and carouse while the bartenders maintain a seemingly affectionate demeanor. Essenhigh recontextualizes the bar atmosphere into a grand, whimsical new territory where her ghoulish characters are fused together and their energy animates the composition.
A selection of the artist’s paintings and drawings in Inka Essenhigh: Between Worlds are on display at the Frist Center for the Visual Arts in the Gordon Contemporary Artist Project Gallery until October 9th, 2016.