A rare vacant lot with graffiti and older facades amidst the booming construction in Long Island City, Queens, New York. How long will it last?
Today we look back at last weekend’s APAture Book Arts Showcase, hosted by Kearny Street Workshop. You can see a bit of the event, and three of the artists, in our companion video on CatSynth TV.
In the video, we see a reading by featured artist Innosanto Nagara of his recent book A Night at the Planetarium, which introduces readers to the culture and history of Indonesia, and one particularly intense night under Indonesian military rule (while “the general” is clearly Suharto, he is not mentioned by name). It is partly a memoir of the author at a young age and relates the story of a crackdown on his father’s dissident plays. Nagara is although the author of the award-winning and quite delightful A is for Activist (we love the black cat on the cover).
“Book Arts” covers quite a lot of territory in terms of discipline and media. There are formal, published books like Nagara’s, but also other print media like self-published zines. Mixed Rice Zines is the ongoing project of Jess Wu-O, and features voices that are often underrepresented, such as queer voices in the Asian American and mixed-race communities. One edition Queer Azn Musicians particularly spoke to me as a queer musician of South Asian descent.
The zines are self-published, as were many of the other pieces featured in the show. Bridge Ho presented these zines featuring her photography along with words by Michelle Velasquez-Potts. The published pieces are works of art, showing semi-abstract imagery on various printed materials including vellum.
Overall, however, most of the work in the show centered around illustration. Minnie Phan presented a variety of printed illustrations, including on cards, booklets, and her comic book They Call Us Viet Kieu, written after Phan visited Vietnam in 2013. You can hear her talk a bit about the experience in our CatSynth TV episode.
Similarly, we saw a variety of illustrated printed material from Cheez Hayama including these cat cards – each one is hand drawn and slightly different – and California activity book featuring our state bird.
More traditional “comic books” were on display as well, including the Time Fiddler by Ellis Kim. The series, told as detailed and well drawn graphic novels, follows a young woman on an adventure through time travel, space, and romance. And of course, there is a cat.
And with books and graphic novels, we come full circle with This Asian American Life by Katie Quan, featuring the everyday adventures of an Asian-American protagonist. Parts of autobiographical from Quan’s experiences, but also includes shared experiences from friends as well as entirely imagined scenes.
It was a well-attended show with many artists presenting – and selling – their work. We regret not being able to visit or include everyone. Congratulations to KSW and everyone involved on a great event.
Today we look back at last weekend’s opening of Art for the Naked Eye at Far Out Gallery in San Francisco. The show covers twenty years of work by local artist Kasper Rodenborn.
You can see and hear a bit about Rodenborn’s art in his own words in our most recent CatSynth TV episode.
Rodenborn’s work falls into several periods and categories. First, there are the more traditional paintings, with surrealist quality that particularly reminds us of Yves Tanguy.
Many of the works feature wildstyle, an homage to Rodenborn’s early days as an underground graffiti artist. But he combines this with other elements, including some that project out of the canvas in the sculptural realm, as in the Rauchenberg-esque elements in Aside from Concrete Existence displayed below.
[Kasper Rodenborn, Aside from Concrete Existence. This piece will be hanging in CatSynth HQ after the show!]
Over time, we observe his work to move in the direction of collage and ultimately assemblages, as in these intricate pieces.
The most recent works are a return to flat surfaces. But these flat pieces have depth and motion, as they respond to changing light colors. They were displayed illuminated by rotating-color LED bulbs.
It was a strong exhibition, we are glad to have attended. And Far Out Gallery was an excellent discovery in the Sunset District of San Francisco – we expect to be back for future shows.
By Japhy Riddle. Submitted by Bill Wolter via Facebook.
An improvement (in my opinion) on someone else’s concept. I can only take partial credit for this. All paper cut-outs.
This fits so well visually on CatSynth!
This fits so well visually on CatSynth!
Kearny Street Workshop’s APAture 2017 Festivalkicked off with a bang this past weekend. A large crowd packed into ARC Studios and Gallery in San Francisco to see the Visual Arts Showcase and KSW’s first ever APAture Focus Awards. You can get a little taste of the event in our latest CatSynth TV Episode.
The awards made this opening night a little different from the past, with the awardees sharing the spotlight with the artworks. But it was a great addition, especially as KSW celebrates its 45th Anniversary. Comedian and performance artist Kristina Wong and visual artist Michael Arcega were on hand for their awards, while comedians Ali Wong (you may have seen her show Baby Cobra on Netflix) and Hasan Minaj (Daily Show) accepted in absentia. There was also a very touching presentation to the late poet Justin Chin, which included an introductory statement written by our friend Maw Shein Win. As a former APAture artist myself, it’s always amazing to see how many people have come through the festival over the years and gone on to do great things in their fields.
[Kristina Wong (right) receiving her APAture Focus Award from Weston Teruya]
This year’s featured visual artist was Rea Lynn de Guzman, a works in a variety of media including painting, printing, and sculpture. For APAture, she created a textile sculpture representing a traditional Filipiniana “Maria Clara” dress that floated in the middle space. It was very much in keeping with this year’s theme of “Unravel”, as de Guzman states in her own words:
Among the other pieces that particularly spoke to me was Jerome Pansa’s Stands (Body of Six), with its six polls topped with triangles painted in solid geometric patterns. It would work at CatSynth HQ!
[Jerome Pansa. Stands (Body of Six)]
Webster Quoc Nguyen packs many symbols into his triptych Double Consciousness. The figures use a bold, illustration style that is both fun and a bit dark at the same time as he juxtaposes symbols of Western influence, Asian stereotypes, and Catholic iconography and practice.
[Webster Quoc Nguyen. Double Consciousness.]
As it was crowded that night, I will need to go back and see these and the many other pieces in more detail on a quieter day. We at CatSynth are also looking forward to the upcoming APAture events featuring other artistic disciplines:
Music Showcase: Saturday, 10/7, 6PM. f8 Nightclub & Bar | 1192 Folsom St
Film Showcase: Thursday 10/12. 7PM. Z Space (Z Below) | 470 Florida St.
Book Arts Showcase: Sunday 10/15 1PM. Arc Gallery & Studios | 1246 Folsom St.
Performing Arts Showcase: Saturday 10/21 2PM. Asian Art Museum | 200 Larkin St.
All locations are in San Francisco, California.
A photo captured in SoHo, New York City, framing a metal sculpture and black-cat painting on a wall.
Our coverage from our recent visit to the Museum of Modern Art in New York continues with Projects 107: Lone Wolf Recital Corps. The Lone Wolf Recital Corp is a multidisciplinary performance collective founded in 1986 by artist and musician Terry Adkins (1953-2014) and has featured many musicians and visual artists over the years. The performances were as much visual art as performance, with Adkins’ sculptures and other objects. Indeed, the main artist attractions were the many musical-instrument sculptures.
The horns above look like they could be played with enough strength and energy. By contrast, Adkins’ musical sculpture Nenuphar, which consists of two horns fused together seems impossible to play.
[Terry Adkins, Nenuphar (1998). Brass and Copper.]
When one is deep in the details of music making – and using electronic gadgets in the process – it is possible to forget the aesthetic beauty of musical instruments as objects and sources of inspiration themselves. Adkins’ sculptures and the work of the ensemble remind us that. The performances, which employ collective improvisation also centered around a diverse set of figures such as John Coltrane, abolitionist John Brown, explorer Matthew Henson, and singer Bessie Smith. Adkins billed the performances and dedications as “an ongoing quest to reinsert the legacies of unheralded immortal figures to their rightful place within the panorama of history.” (it should be noted that here at CatSynth, John Coltrane, in particular, is anything but unheralded.)
Unfortunately, we were not in town to attend either the opening performance or the second performance on September 26, which brought members of the ensemble together in live improvisation around the sculptural elements of the exhibition.
[Opening performance of Projects 107: Lone Wolf Recital Corps at The Museum of Modern Art, August 19, 2017. Photo: Scott Shaw.]
It looks like it was a great event, and while we are sad to have missed the performances, we are glad to have found the exhibition. It was one of the happy surprises that one expects when exploring MoMA.
Since February, MoMA has hung artworks galleries by artists from countries affected by the administration’s various travel bans – something which is poignant this week as the latest incarnation of in the ban covering seven countries (six majority-Muslim countries plus North Korea) has been announced. Below is one such work, a beautiful exterior perspective of a proposal for The Peak: Hong Kong by Zaha Hadid, who passed away last year.
[Zaha Hadid. The Peak, Hong Kong (1991). Exterior perspective, synthetic polymer on paper mounted on canvas.]
The pieces are scattered among the rotating display of works from the permanent collection in the middle floors, which are otherwise organized in a near-religious temporal and historical progression from early modernism at the turn of the 20th Century to the post-war period. Hadid’s painting stood in high contrast to the early modern works surrounding it. Others, such as The Prophet by Parviz Tanavoli blended more subtly with their surroundings. The following statement was included with each artwork:
This work is by an artist from a nation whose citizens would be denied entry into the United States according to recent presidential executive orders. This is one of several such artworks from the Museum’s collection installed throughout the fifth-floor galleries to affirm the ideals of welcome and freedom as vital to this Museum, as they are to the United States.
We at CatSynth could not agree more, and strongly support MoMA’s action through art.
The Museum of Modern Art in New York recently concluded a large exhibition of works by Robert Rauschenberg, billed as the “first 21st-century retrospective of the artist.” In 1999, I attended what was probably the last major 20th-century retrospective at The Guggenheim, which resulted in mixed and complicated feelings about his work. I was skeptical of the white-on-white paintings and openly detested the pieces that consisted entirely of unfolded cardboard boxes; but there were other works that were captivating, like his sculptural paintings with electrical elements. This new exhibition elevates the entirety of Rauschenberg’s work by placing it in the context of his many collaborators, both in the New York School of the 1950s and 1960s and beyond. The show also demonstrated the importance of place in the development and evolution of his art.
[Robert Rauschenberg. Grand Black Tie Sperm Glut (1987). Riveted street signs and other metal parts, 60 x 121 x 14″ (152.4 x 307.3 x 35.6 cm), Robert Rauschenberg Foundation, New York]
The source of his many collaborations can be traced to his time at Black Mountain College. He studied with (and was influenced by) Josef and Anni Albers. It is here that he met John Cage and Merce Cunningham, as well as fellow visual artists Cy Twombly, Susan Weil, and more.
[John Cage. 4’33” (In Proportional Notation) [1952/1953]. Ink on paper, page (each): 11 x 8 1/2″ (27.9 x 21.6 cm); sheet (each, unfolded): 11 x 16 15/16″ (27.9 x 43.1 cm). The Museum of Modern Art, New York. Acquired through the generosity of Henry Kravis in honor of Marie-Josée Kravis.]
Cage’s 4’33” is a piece that I admire greatly. He later claimed that his encounter with Rauschenberg’s white paintings was a major inspiration for the piece. In the context of place and collaboration, the white paintings take on a significance that was lost the first time I saw them. (I still don’t like the cardboard boxes, though.) One can also see in his white (and black) pieces the influence and evolution away from the precise minimalism of Josef Albers.
The friendships and collaborations formed at Black Mountain continued in his work abroad and then at his studios in downtown Manhattan, first at Fulton Street and then at Pearl Street. One amusing collaboration was a long ink-on-paper piece featuring the tire treads of a car driven by John Cage.
[Robert Rauschenberg with John Cage. Automobile Tire Print (detail). 1953. Tire-tread mark (front wheel) and tire-tread mark with house paint (rear wheel) made by Cage’s Model A Ford, driven by Cage over twenty sheets of typewriter paper fastened together with library paste, mounted on fabric, 16 1/2 in. × 22 ft. 1/2 in. (41.9 × 671.8 cm). San Francisco Museum of Modern Art. Purchase through a gift of Phyllis C. Wattis. Photo: Don Ross. © 2017 Robert Rauschenberg Foundation]
Rauschenberg continued to work with simple elements to produce three-dimension works both on and off the wall that would lead to his celebrated “Combines.” Some of these early pieces were quite small and often focused on just one or two elements, such as the piece Untitled (c. 1953) consisting of wooden and linen boxes. As an interesting aside, the original fabric box was destroyed by Rachel Rosenthal’s cat – another example of chance collaboration.
[Unititled (1953). Wood box with lid and removable balsa wood-and-fabric cube. The Museum of Modern Art, New York. Purchase.]
During the period of his early Combines and red paintings, Rauschenberg collaborated with Jasper Johns on a large mixed-media set design for Minutiae a dance piece by Cunningham with music by Cage. While red was the principal color of the piece, it also brought in a variety of other textures and materials, including wood, mirrors, newspaper and even a paint color chart.
[Robert Rauschenberg and Jasper Johns. Minutiae (1954). Oil, paper, fabric, newspaper, wood, paint sample color chart, graphite, metal, and plastic, with hanging mirror, on wood supports 84 1/2 x 81 x 30 1/2″ (214.6 x 205.7 x 77.5 cm) Private Collection Switzerland. Courtesy Hauser & Wirth.]
The music is very sparse, and the dance moves between very slow minimal motion and periods of frenzied activity. These contrasts are reflected in the set’s various materials and textures. Remy Charlip’s costume designs also seem to reflect the colors and patterns of the set.
In 1960, Rauschenberg participated in Jean Tinguely’s seminal performance piece Homage to New York. Tinguely and his collaborators assembled a large sculptural installation that was designed to self-destruct over the course of the performance, which took place in the sculpture garden of MoMA. Only a few fragments of the original piece remain today.
[Jean Tinguely. Fragment from Homage to New York (1960). Painted metal, fabric, tape, wood, and rubber tires. The Museum of Modern Art, New York. Gift of the artist.]
Rauschenberg’s contributions included “The Money Thrower”, a mechanical contraption with springs, an electric heater, gunpowder, and silver dollars.
[The Money Thrower for Tinguely’s H.T.N.Y. (Homage to New York) . Electric heater with gunpowder, metal springs, twine, and silver dollars. 6 3/4 × 22 1/2 × 4″ (17.1 × 57.2 × 10.2 cm) Moderna Museet, Stockholm. Gift of Pontus Hultén]
One can also see the performative at play in some of his larger Combines, including Gold Standard, a collaborative piece with artist Alex Hay.
[Robert Rauschenberg and Alex Hay. Gold Standard (1964). Oil, paper, printed reproductions, metal speedometer, cardboard box, metal, fabric, wood, string, pair of men’s leather boots, and Coca-Cola bottles on gold fabric folding Japanese screen with electric light, rope, and ceramic dog on bicycle seat and wire-mesh base 84 1/4 × 142 1/8 × 51 1/4″ (214 × 361 × 130.2 cm) Glenstone.]
These collaborations and the increased presence of electrical elements and technology in Rauschenberg’s work foreshadowed E.A.T., the “Experiments in Art and Technology”, an organization which he co-founded with Billy Klüver, Robert Whitman and the engineer Fred Waldhauer. Among the works that came out of E.A.T. was Mud Muse, in which a large glass case filled with bentonite and water is excited by a sound recording fed into an air compression system. You can see a bit of the piece in this video:
Mud Muse was a collaboration with Carl Adams, George Carr, Lewis Ellmore, Frank LaHaye and Jim Wilkinson.
Place is an important element of many pieces. This is perhaps no more apparent than in Tinguely’s Home to New York. But the influence of New York and the artists who coalesced there is apparent in his solo works as well, sometimes visually and sometimes spiritually. Eventually, Rauschenberg moved his home and studio to Captiva Island in Florida, where we worked on a larger scale and in a more solitary manner than during his days in New York. While there are currents that run through his work in both the New York and Captiva periods, the later Captiva works seemed to lack a bit of the edge of the earlier New York work – or perhaps it is simply part of bias towards the city that I always return to.
[Estate (1963). Oil and silkscreen-ink print on canvas 95 3/4 x 69 3/4″ (243.2 x 177.2 cm) Philadelphia Museum of Art. Gift of the Friends of the Philadelphia Museum of Art, 1967.]
There was far more in this exhibition of over 250 individual works than I can cover in this article. The continuity and focus on collaboration made it not too overwhelming to take it all in. I quite enjoyed the show, and it has given me a renewed appreciation overall for Robert Rauschenberg’s career and body of work.
The Red Robot Show and Vacuum Tree Head are back! This time Jason Berry brings footage from our March show at HSP2017, and is joined by Marlon Brando in this full-length episode.
The members of the band for this performance are:
Jason Bellenkes : Alto Saxophone and Clarinet
Jason Berry: Conductor
Amanda Chaudhary: Keyboards and Vocoder
Richard Corny: Electric Guitar
Michael de la Cuesta: Guitar, Synth, Vibraphone, Sitar, etc.
Richard Lesnik: Bass Clarinet
Justin Markovits: Drum Kit
Joshua Marshall: Soprano and Tenor Saxophones
John Shiurba: Bass Guitar
Cameras by Amanda Chaudhary and Jason Berry
Edited by Berry / Chaudhary
Audio Engineering by Amanda Chaudhary
Animated and Directed by Jason Berry
Brought to you by White Wine. Crisp. And Refreshing.