Far in aesthetic quality from the original production, this guerilla installation of the seminal work is re-imagined with abstract stagings, loosely scheduled on the quarter hour, a constantly revolving cast and crew and completely original set construction. Completing this imaginative departure is the evolution of plot due to seasonal/cast change(s) which transcend the small Kansan island of William Inge’s original work, allowing the viewer to see the greater world in its own remote context.
Originally conceived as a utilitarian receptacle of dreams, this sculpture of feral composite is reborn as tribute to societies breakdown in consumption of knowledge and languishing art of “written” communication. One of a vast series, this individual installation sees fewer and fewer viewers, waiting all the while for its next incarnation. The exhibit is restricted and open, only Monday thru Saturday.
Born of divine inspiration and incalculable hours of artisanship, this enameled iron casting has been conceived as more than an individual piece, relying as much on the context of its surroundings as it does on itself. Surrounded by a stark backdrop of brick and asphalt this industrial age clawfoot creature waits poised to pounce any unsuspecting prey which might foolishly emerge to find its end. An allegory for the dangers born of the industrial revolution, this work remains a museum favorite.
A result of meticulous craftsmanship and reconstruction, this multi-layered work serves as metaphor for grand seasonal metamorphosis that transcends nature, reflecting man’s constantly evolving advancements. The somber tone of the piece emanates form its seemingly purposeless existence and the context of its abandonment in a world, which has moved on leaving it, like its primary patrons, on the trailing ends of life.
More than just tribute to the distiller, this meticulously crafted alabaster effigy of extruded polystyrene, transcends the role of decorative object acting as metaphor to Stephen J. Gould’s conclusions on biological determinism. Speaking in scale to mismeasures by, and of, man and subsequent flawed evolutionary theory, this 32” depiction amplifies the difference by size compared to historical attainments by the subject.
In the tradition of the Hudson River School comes this definitive take on the American landscape, one which embraces the grandiose nature of the great 19th century style, but transcends its tranquility, introducing a more intimate intensity found in the modern age. The subject matter of this sublime woven piece, a lone wig, separated from it’s migrating herd, stands alone fighting the currents of an asphalt stream much as the modern individual fights against the currents of the society and just as alone. Created in the waning months of 2009 this work is prime example of a truly new style.
Posed as a protest and challenge to American society and its taxed educational establishment, this unique piece comes on with great bluster and gradually finds incomprehensible drivel its true voice. This is a piece that is both painful and satisfying in that it proves many of Stephen J. Gould’s hypotheses on evolution. It is both frightening and beautiful and should not be discounted as harmless.
A profound statement on love’s lost innocence and youth’s tragic descent into adulthood, this striking composition displays in artful contrast the stark reality between the freshness of first love and the harsh reality of its end. The artist’s use of color and scale allow the viewer to suspend their own disbelief, ultimately accepting Biblical fiction’s relationship with modern culture. Painted using a combination of natural and synthetic materials whose organic decomposition is a given, the viewer is urged to revisit and reconsider numerous times.
This unexpected found-art piece comes to life in direct response to a disengaged society that seems more and more void of human interaction. Inspired by the works of Rube Goldberg, this installation, reintroduces the warmth of tactile media and communication to a civilization unaccustomed to organic contact and mechanical interaction. The mere metal on metal mechanical mnemonic combined with the contrast of pulp rag, recreates experiences, found only in the vaguest of memories.
More than just an exquisite example of typographic transcendence, this artisan execution works as both homage to Max Miedinger and Eduard Hoffmann while offering frank appraisal of a puritanical hypocrisy that oppressively voices salubriousness while taking little responsibility beyond symbolic placard. The visual urgency of the language combined with rudimentary iconography bespeaks the contradiction in circumstance between those who serve and those who are often recipient. The execution, screen print on cellulose base, makes for a memorable visual experience.
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