This exhibition was created in cooperation with the Lakes Were Rivers collective, an Austin-based group of artists working in photography and video. Members of the collective created a body of work influenced in some way by the Ransom Center—its space, its purpose, its collections. Approximately 50 new works are displayed alongside Ransom Center collection materials chosen by the artists. The pairings highlight how archives and cultural collections stimulate new ideas and creative acts.
I am super excited to be a part of this and Lakes Were Rivers.
Stairway to Wonderworld, 2012, 16 x 20 inches, Archival Inkjet Print by Barry Stone
Part of OF a Technical Nature, a group a exhibition at Arthouse / Austin Museum of Art at Laguna Gloria, Austin, TX which opens Friday March 1, 6-8pm and will be on view through August 11, 2013. More here.
Utopian Consciousness wants to look far into the distance, but ultimately only in order to penetrate the darkness so near it, of the just lived moment, in which everything that is both drives and is hidden from itself. In other words, we need the most powerful telescope, that of polished utopian consciousness, in order to penetrate precisely the nearest nearness. Ernest Bloch, The Principle of Hope, 1954-59)
The show’s title, Many Worlds if Any, is taken from Nelson Goodman’s Ways of Worldmaking, in which he argues that many “right” versions of the world are simultaneously possible; one knows the world by quoting, rearranging, adding to, and subtracting from it.
Robert posted an excerpt from the accompanying catalog, which on the subject of artists writing or talking about ther work, Robert quoted:
As far as I'm concerned, the explaining artist puts himself or herself in front of the work for the purpose of destroying the mystery of how it came into being. Borges said, "Rational explanation destroys the faith that art requires of us." That's for the viewers. For the artists, I think we need to have faith that the art experience can take place between the viewer and the work itself. [Ken Price, from "Ken Price: A Talk With Slides," Chinati Foundation Newsletter, October, 2005]
I am inclined to side with Price on this one. On the other hand, I value talking (and thinking) about art and the excruciating challenge of deciphering its mulitvalient meanings and translating them into words. And more to the point, I enjoy sharing that this process with others. The only way I can do that with any efficiency is through language. In fact, I can think of no other way to do so, other than making more art and you can see the cunundrum there.
I would also love to convey to you how bad ass I think this show looks via the flickr slide show embedded here. It would be much easier to wordlessly gesture to you how Gehry's exhibition design which is uncharacteristically orthogonal, makes Price's organic colorful inventions seem so otherworldly fluid and ever plastic and yet fixed in ceramic stasis, but as you can see I am falling into the trap I set in the preceding paragraph.
An artist statement is a meditaion on intention which ulitmately, for me is additive, even if its contents do not resonate with what I value in the work.