Poetic Vision and Abundant Culture
Kirsten Schmidt
As we embarked on the 2006 California Biennial, we observed how tired
clichés about California barely came into play. Long characterized
as culturally isolated, young artists working in California are no more
or less disconnected from one another than they are from either the rest
of the country or the rest of the world. Many come here from other states
or countries to attend one of California's outstanding art schools
or universities and stay after graduation because of abundant opportunities
in this burgeoning climate of art galleries, museums and nonprofit organizations.
While initially steering clear of an overarching curatorial premise, in
the end, we identified six prominent themes: fantasy verité, historical and archival
consciousness, social interaction, urban ecologies, adaptive identities and extreme
object-making. Necessarily broad and fluid, these categories reflect what we
consider to be the most significant tendencies in contemporary art made in California.
When artists blur the boundaries between fantastic narrative conventions
and quasi-scientific ways of ordering knowledge, their work becomes
fantasy verité.
A mix of political rage and flights of fantasy permeates the work of the collective
My Barbarian as Malik Gaines, Jade Gordon and Alexandro Segade freely sample
the history of performance art, 20th century music and agitprop to create what
they call "showcore," combining mainstream show tunes and the more
hardcore demonic energy in rock and punk. Nicolau Vergueiro invests materials
with magical qualities while excavating images and icons from US and Brazilian
popular culture. Equally interested in conflating extremes, Pearl C. Hsiung's
paintings and sculptures reflect the instability of California's psychic
and physical landscapes with gurgling, erupting geological forms. And Scoli Acosta's
installations and drawings combine dreamscapes with historically resonant landscapes,
from Parisian monuments to the Badlands of South Dakota.
Expanding narrative cinematic codes within a gallery space, Marie
Jager overlays literary and cinematic references onto real locations.
Guided by a similar interest in materializing fictive worlds Andy
Alexander has reworked minimalist objects into science fiction props, conveying
his interests in the themed environments and scripted spaces of daily life.
Brian Fahlstrom's recent paintings are
fantastic, dramatic and surreal, exuding an internal energy propelled by swirling
gestures, intense colors and sinuous lines. Shana Lutker's projects use
archival methodologies and objects to represent her dreams. While tracking the
unconscious, her diary-like narrations comment on the blurring of fact and fiction
in the media, on the Internet and at the highest levels of government.
Several 2006 California Biennial artists exhibit a historical and
archival consciousness, as they adapt images and text from past
and contemporary events. The Speculative Archive—artists Julia Meltzer and David Thorne—work with declassified
materials, including a recent collaboration with actors and artists in Syria,
culminating in a video installation about the political stakes of speech at this
pivotal moment in Syrian history. Binh Danh engages with the history of photography
and looks at the photo-object's role as retainer of memory—as souvenir
and amulet. Danh works with a photosynthetic process to print photographs onto
leaves and has recuperated images from the Vietnam War and the current military
engagement in Iraq. While Danh plays with the erosion of historical images, Hank
Willis Thomas appropriates the most blatant and ubiquitous images of American
material culture to comment on the commoditization of race and culture. In his
photographs Thomas co-opts commercial advertisements, sometimes using logos as
wounds directly on the body, quite literally representing the concept of targeted
ads. Walead Beshty has also delved into the recent history of dispossessed archival
images focusing on the abandoned Iraqi diplomatic mission in the former East
Germany.
Rather than mining the archive or deconstructing histories, other
Biennial artists produce work that encourages social interaction
and direct engagement with audiences. In Kianga Ford's Urban Revival, museum visitors can sit on inviting red
couches and listen to an ambient sound track sampled and remixed from various
cultural spaces in Los Angeles, ranging from yoga studios and karaoke bars to
gospel church services. Following extensive research in Orange County, Mario
Ybarra created three paintings that simulate actual sign paintings from homegrown
businesses in the region. These paintings continue Ybarra's interest in
the "sign language" made by immigrant communities in this increasingly
multi-ethnic region. Like Ybarra, Kate Pocrass chose to delve deep into Orange
County to create her Mundane Journeys; a series of site-specific itineraries
that encourage museum-goers to experience easily overlooked public spaces throughout
Orange County. Using her hand-drawn maps or a telephone hotline, visitors can
track down uncanny, unnoticed locales.
Art that responds to the natural and built environment—urban ecologies—including
urban, suburban and entropic landscapes, has taken on renewed urgency and is
evident in the work of several Biennial artists. Leslie Show's large-scale
collage paintings, where representation dissolves into abstraction, play with
the idea of geological and cerebral decomposition. Despite their fantastic appearance,
her apocalyptic landscapes, composed of hundreds of tiny scraps of paper collaged
onto their surfaces, are based on real photographs of man-made and natural ruins.
Amir Zaki has employed photography to explore a similar interest in illusionism
and the landscape, sometimes using post-production effects of digital photography
to transform modernist hilltop homes into hallucinatory sci-fi-like structures
floating precariously overhead.
In his spare, surreal paintings on wood panels and in room-size
installations, Christopher Ballantyne focuses on sites one might
see amid the endless sprawl of development between the city and
the country—swimming pools, parking
lots and marshes and other vestiges of the natural environment—transforming
these anonymous structures and empty spaces into inadvertent monuments. Bull.Miletic,
the collaborative team of Synne Bull and Dragan Miletic, also focuses on inadvertent
monuments, revealing the poetic but ominous sense of place that one finds at
landmarks such as the infamous prison of Alcatraz. Shannon Ebner's landmarks
are homemade, temporary "meta-monuments" created from flimsy, six-foot
high cardboard letters that she erected and photographed on location in and around
Los Angeles. Taking her cue from the famous Hollywood sign, words are spelled
out in each panoramic photograph—such as nausea and landscape incarceration—reflecting
the current state of fragility bordering on toxicity of our environmental and
political climate.
Several Biennial artists appropriate new identities or adapt narratives
to their own desires. Harking back to performance artists of the
60s and 70s, artists Arturo Ernesto Romo and Goody-B Wiseman utilize
different personae or alter egos, creating performances or installations
based on fictive narratives that they write and perform. Artists
Tim Sullivan and Ala Ebtekar also appropriate from popular culture,
making ironic juxtapositions in their work. Sullivan photographs
himself in improbable positions and kitschy 70s interiors and has
a persona that is part Warhol, part Chaplin. Ebtekar, in contrast,
synthesizes his own generation's
hip hop culture with his family's Iranian traditions, overlaying Persian
decorative motifs onto American consumer goods.
Despite the increasingly specialized knowledge and nature of contemporary
artistic practice, there continues to be a formalist ethos at the
core of art making today. Joel Morrison's work exquisitely synthesizes references from the history
of art from fragmented classical Greek sculptures to the works of Constantin
Brancusi, Marcel Duchamp and Claes Oldenburg. Morrison's use of pedestals
and precious materials ensures that these sculptures are fine art, but their
content is at play with their presentation as he bridges high and low, anthropomorphic
and techno-morphic, repulsive and beautiful. Jane Callister turns walls and canvases
into seductive objects, calling up the legacy of abstract expressionism with
her rigorously controlled handling of paint as she combines smooth, glossy surfaces
and a dazzling Technicolor palette. Christian Maychack shares this attention
to fabrication and finish in site-specific sculptural installations fusing objects
and architecture that appear to mutate out of the foundation. His extended forms
reference the digital and the organic, alluding to the visual effects of genetic
engineering and the structure of 3D computer animation. Equally extreme and compelling
objects appear in Sterling Ruby's interdisciplinary installations, which
combine different media to achieve the maximum effect. His formal acuity and
technical facility are visible in densely layered collages, heavily worked prints
and urethane and ceramic sculptures that sprout stalactite growths and ooze with
dripping glazes.
Reflecting the sense of chaos and anomie in contemporary life and
the absence of visual representation of current events, the Biennial
artists bring a palpable and poetic vision to the ecstasy and exuberance,
fear and terror that live in our collective imagination and it
is no coincidence that the artists in the 2006 California Biennial
produce bold, intense, thoughtful, visually compelling works that
respond to the ambiguity and anxiety of our times.