FORCES
E-mail Exchange with CACVThank you all for your interest in Forces and the Contemporary Art Center of Virginia. I enjoyed meeting and talking with those of you who were able to attend the opening reception.
1. Do you feel the messages of the "Forces" artists differ from other artists who use more traditional media?
Yes and no. I have seen some of the same themes-warnings about environmental devastation, investigations of the human psyche and interpersonal relationships and exploration of biological processes--addressed in painting, "lower-tech" sculpture and photography; yet, as Marshall MacLuhan said, "the medium is the message." So, the messages of the Forces artists take on particular tones and nuances by virtue of the medium, i.e. the technology used by the artists. On the other hand, there are works such as Zoe, the interactive grid in the rear of the gallery, whose message, I believe, could not have been communicated without the technology used by the artist.
2. How many "faces" are usually displayed in Shu-min Lin's Glass Ceiling?
Largest installation was 1,000 tiles, 100 of which were holograms.
3. Who are the "people behind the faces"?
Friends of the artist's and friends of friends-whoever he could get to pose for him. 20+ nationalities. Ages range from 12 to 81.
4. What is the most common question(s) you are asked? And what is your response?
Our tours are based on the "inquiry/inductive" method with the tour guides asking most of the questions. Certainly, people do ask questions, though I am hard-pressed to identify the most commonly asked. With the Forces exhibition, I suppose the questions are mostly technical and relate to holograms and the "bubble" piece, i.e. James Ossi's Russian Constructivism via Venice Beach. Specifically, people ask, "How is a hologram made?" and "What makes the bubbles?" To the former I explain that a laser beam is split into an object beam and a reference beam. After passing through a series of mirrors and lenses (to spread the beams), the beams are brought together on a photographic plate or film where the 3-D illusionistic image is recorded. Regarding Ossi's work, I explain that air is simply forced out of openings in a rotating mechanism into soapy solution, which creates bubbles. As the air continues to flow, the bubbles are forced up the glass cases. The mechanisms in each of the three cases are timed to start, stop and slow-down at different intervals. At least three factors affect the formation of bubbles: surface tension between soap and water molecules, internal pressure (pushing outward) and atmospheric pressure (pushing inward).
5. What is the most unusual question(s) that you have been asked?
Most questions by the public-even 4th and 5th graders-are not particularly unusual, though they are very appropriate and insightful. Again, what I mostly hear is answers to my questions and they are very thoughtful. However, I suppose the most surprising question from children--which reveals the degree to which they buy into the holographic illusion--is in regard to Glass Ceiling: "Are these people dead?" I respond to this question by more questions and discussion related to how holograms are made, the meaning of the term "glass ceiling" (which is a very difficult concept for most elementary students to grasp) and Shu-Min Lin's views of reincarnation.
6. Do the artists themselves seem any different from the stereotypes associated with "traditional" artists?
I met, however briefly, six of the artists who came to install their work, and spoke by phone with another. I'm not sure exactly what stereotypes you are referring to, so may response may not answer your question. I will say that all seven of the artists were very different from each other: some were shy and reserved, some outgoing. One seemed to have a large ego, at first, but later proved to be much more accessible, taking interest in the educational dimensions of the exhibition, especially in a public program called "Move It!" that Idesigned in conjunction with Forces and in the phenakistoscope in the children's gallery. He even called from New York to ask the name of it and whether I would be willing to share the directions on how to make one (which, of course, I was). He also agreed to give a lecture-at no charge-to students at a local college when he returns to deinstall his piece. Stereotyping of artists, as with any other group, is a dangerous enterprise, leading to many misconceptions. The one trait that all of the Forces artists shared was a seriousness of purpose and a dedication to their work.
7. How was Lin able to allow the holographic images to appear and disappear while the facial expressions are also changing?
(See also the explanation of holography above.) They appear and disappear due to the angle of the light from above. According to Lin, the facial expressions do not change; they may appear to depending on where the viewer is standing.
8. What are the images made from?
Holography is essentially hi-tech photography. The subjects were actual people, and are captured on the photographic film/plate using split laser beams, mirrors and lenses in the way described above.
9. How did you determine what works of art would be represented in the exhibition?
This exhibition was curated by Richard Humphries, an art dealer in NewYork City. It was circulated to museums by Exhibition Management, Inc. We flew Humphries to VA Beach to meet with us in order to discuss the artists in the exhibition. Unlike most exhibitions available for arental fee, this one was not static. In other words, the pieces and even the artists changed slightly from venue to venue. Essentially, there was a pool of artists from which to choose. During the meeting with Humphries we discussed which of the artists/artwork would and wouldn't be the best choices for our museum. Particularly, two of us on staff were concerned that the work not simply evoke an "ooh-ah" response, but that it have some content. Other work was rejected because, based on Humphries' experience, it required too much maintenance to work properly.
10. Which image represented in Glass Ceiling most closely resembles where the artist feels he is spiritually in this life?
Good question; however, the artist said that he did not identify more closely with one person than another.
11. Why is the exhibition called Forces: Art for the End of the 20th Century?
Because the artists harness natural forces using current technology. Does that answer your question?
12. Why is the Glass Ceiling called a ceiling. Wouldn't "Floor" be more fitting?
I suppose it depends on whether you consider our (the viewers') perspective or that of the figures in the holograms. From their perspective, it is a "glass ceiling." The term was coined by a writer whose name I can't recall. It refers to the phenomenon by which, women,in particular, are unable to advance beyond a certain point up the "corporate latter." The ceiling is referred to as "glass" because it is virtually "invisible," yet no less real. In cases where the term applies, there may not be corporate policies stating that women will not be promoted/hired for top management/leadership positions. But, the fact remains that they are not. In addition to discrimination, there are many complex reasons for this. A recent one discussed in the media is that women sometimes "set themselves back," corporately speaking, by choosing to "take time off" to raise children.
13. How does James Ossi's Russian Constructivism via Venice Beach work? (Please see #4.)
14. Are there any other art exhibitions in which Peter Terezakis has exhibited?
Yes, but I don't have his resume on file. He is also writing a book on art and technology.
14. How long did it take to put together this show?
I don't know how long it took Richard Humphries and Exhibition Management, but our staff started seriously discussing it, negotiating, and planning in spring 1997.
15. How often do you have shows pertaining to technology?
Technology is, in one way or another, a sub-theme of every exhibition. However, it has been an explicit concern in only a handful of exhibitions during my six year tenure at CACV. Approximately two years ago, we exhibited Fabricated Nature which dealt with natural forms created using industrial materials and technologies. Approximately two seasons ago, we also exhibited glass and wood, in two separate shows. The former was accompanied by a video showing the technological processes involved in creating glass sculpture. For the latter, label copy educated viewers about the artists pioneering wood carving technologies and processes. However, Forces is the first "hi-tech" exhibition that we have shown.
16. Where did the idea for the exhibit originate?
I'm afraid I don't have a lot of information for you. But, I do know that Richard Humphries, as an art dealer/gallery owner, became familiar with these artists' work and became interested in showing them as a group. They function well as a group, for while the work is extremely diverse, it is linked by its use of technology, as well as by its interactive and kinetic qualities.
17. Do you know where any of the artists, specifically Shu-Min Lin, had any specialized art training or education?
Shu-Min Lin went to an "all art" high school. He received his Bachelor of Fine Arts and his Master of Arts in Canada and the U.S. He learned holography at the Museum of Holography in NYC and at a couple of different companies. He currently teaches at the New York Institute of Technology and maintains his own studio.
18. Are any of the artists local? If not, do you know where they are from, specifically Shu-Min Lin.
None of the artists are local. Shu-Min Lin was born in Taiwan, and now lives in New York City. All but one of the artists are from NYC, Long Island or Brooklyn. James Ossi is from Connecticut.
19. How and or where do you find artists like that.
In this case, we "found" them through Exhibition Management, one company, among others, which rents and circulates exhibitions, promoting available exhibitions through catalogues. The standard ways of "discovering" artists include visiting galleries and museums, reading current journals like ArtForum and talking to professionals in the field.
20. What was Sarah Armstrong's Closed System supposed to represent?
While art is open to interpretation, my understanding of the piece is as an exploration of symbiotic organic systems, i.e. as one "lung" form "inhaled," the other "exhaled," sharing a source of air/oxygen. Like most contemporary art, I see layers of meaning and references in her work. Aspects of it suggest cocoons, exoskeletons, living tissue, incubation, hatching and so forth. What did you think it represented? (See also # 23.)
21. Do you learn to appreciate art and to see "into" in, or is it something that is natural, inside you?
Probably some of both, but appreciating art-like virtually everything-is enhanced by prolonged encounters with it, including looking, thinking and discussing. Arthur Danto, a philosopher, says that art has "aboutness" and demands to be interpreted. Therein lies a subject of much debate. However, you mentioned being a lover of poetry and drama. Well, just as there are literary interpretations based on "reader response," there are artistic interpretations based on "viewer response." You see, there is a phenomenon known as "intentional fallacy." Simply put, it means that artists intend what they don't achieve and don't intend what they do achieve. In other words, intentionality is only one aspect of a work of art. I liken this whole conundrum to "If a tree falls in the forest, does it make a sound?" "Does an artwork mean anything if there is no viewer?" I think the viewer is necessary to the construction of meaning. And, each viewer will bring to the work his or her own experiences, knowledge, understanding and so forth, all of which change over time. So, meaning is non-static and dynamic, at least as I understand it. Something else to consider: if you do not know an artists intention, does it follow that the artwork can have no meaning? And lastly, you commented that Mary Ziegler's magnet piece looked like your child could have made it. I say, "Hooray for your child," because I think it is brilliantly deceiving in its apparent simplicity, and, to the contrary, elegantly complex.
22. In your experience, am I the exception or the norm?
I am unable to determine. However, I find it puzzling that people like you who, I assume-based on what you said--embrace symbolism, metaphor, foreshadowing, structure, etc. in literary arts are less willing to accept these devices in visual arts. Perhaps it is because you studied more literature than art in school? Our culture is a very visual one; maybe students should be exposed to more visual art in school.
23. I believe Sarah Garden Armstrong's sculpture illustrates thetechnological advances in artificial human organs. Is the theme of this sculpture in the eye of the beholder?
(See #22 above.) I think you are right on target.
24. How do Shu-Min Lin's holographs represent reincarnation?
If you remember, the images of people included men and women of many different nationalities, some younger and some older. Lin believes that we will all come back to inhabit a body which may be of a different gender, nationality, or even species than the one we currently inhabit. Based on this statement from the artist, I take this piece to be about tolerance toward those who are different from oneself.
That's all, folks. Thank you for the thought you put into the formulation of your questions.
Sincerely,
Betsy DiJulio, Education Director
Contemporary Art Center of Virginiatop | Forces | developed by D. Reiss and S. Cornell | modified 16 November 1998 by D. Reiss and S. Cornell