What’s Wrong with this Picture?

Damien Hirst exhibit at Gagosian Gallery NY 2012, Photo: Robert Egert

Damien Hirst new paintings represent an oppressive combination of cynicism and opportunism that should make us all run for fresh air.

These painting are in the continuing tradition of production-oriented work that (arguably) begins with Duchamp, continued through Warhol, and on into the present day.

Located at the confluence of image-making and social critique, this modality is exemplified by factory-like production methods and disregard for craft. But more importantly, it engages the means by which value is produced: Its true subject is the mechanism by which society assigns a dollar value to art.

The production of value is ultimately the only subject.

Hirst’s dots would be impossible without this tradition, yet they go beyond for sheer opportunism and disregard for meaning. What was disruptive about Warhol’s factory silkscreens in the 1960′s has apparently become a vulgar trope for a well-established artist bent on cashing in while the money is good.

It is one thing to challenge accepted conventions and another to simply take advantage of them.

Given the degree of wealth-hoarding among the rich, and our rapid path toward a two-class society, these paintings have a moral repugnance that surpasses even the interspecies degradation that Hirst relied on in the past.

As the collectors line up to purchase the dots we can only imagine the financial advisors behind it urging the super wealthy to put a larger percentage of their investment into art to avoid the hyper volitility of the stock markets. Given that Hirst’s work is represented in so many major collections, there’s every reason to believe that these pieces will become canonized too. This, because the investor class has a vested interest in keeping it that way.

And here come Hirst to the rescue, having his art elves produce objects devoid of all meaning save as receptacles of financial value.

Photo: Robert Egert

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Post-humanism (in the Flesh)

Damien Hirst's Virgin Mother 2005

What is Post-humanism?

Let’s start here: What does it mean to be human if we are disembodied?

As someone who is active in both technology and the arts, I think I’ve got a unique perspective on this. The postulate of the post-human movement is predicated on the belief that the mind can be abstracted from the body and housed within a machine. The scenario was played out in science fiction but is now thought by adherents to be within reach. The human subject is connected to a powerful computer and all the thoughts, memories, beliefs and associations are extracted through a digital process and recorded in a computer. The subject continues to think, communicate and exist but without a body. If you hook the computer up to a system the extracted brain can be used to run operations.

I suppose you can consider this a kind of singularity.

Let’s examine the underlying assumptions that support this model:

Our experience of the world manifests to us vis-a-vis the brain and the brain is just like an awfully powerful computer. Given the ever-increasing power of computers, we should soon be able to create a computer that can function equivalently to the human brain. Once this has been achieved we can extract our sentient selves and live, in perpetuity, in machine form.

This is not a technological fantasy: it reflects religious, social, and economic beliefs.

The post-human belief system is based on a shared social understanding of what it means to be human. It may frequently be expressed through a technological fantasy of the computer-based human but it is just as visible in the way that we picture our selves.

But where does identity reside if we are disembodied? Look no further than social networks to envision what this can look like. A new framework to understand and contextualize friendship, social membership and human contact. And with it the awkward reconnects with high school sweethearts now grown so different as to be barely recognizable and the friends whose context is the network and not corporeal.

Reconstructing Social Systems in Our Own Image

Google’s social graph attempts to quantify and operationalize our emergent identities. In the industry we tend to see this effort as a marketing opportunity or, to put it more kindly, a more accurate way to deliver meaningful and relevant content and experiences to people. In addition to that we may see an emergent phenomenon: With the introduction of highly integrated social applications that respond to and build upon each other (i.e., ifttt, storify) the door opens for automated connections and consequent actions that are not triggered by individual actions but by the collective action of multiple systems.

It promises to be increasingly easy to lose control, not only of the posts that display in your Facebook timeline, but in the actual social connections, recommendations and communications that are generated on your behalf.

Why it Really is Post-human(ism)

It’s an easy shot, but just for laughs and giggles, compare the fifteenth century immaculate conception with the twenty-first century version that displays at the top of this post.

The Renaissance version by Bellegambe depicts the fetus as a vision, a thought in the process of becoming. In Bellegambe’s day anatomy was in its infancy, yet more importantly, it didn’t represent the truth that mattered. What did matter was theological and interpersonal. Hirst’s may be purely anatomical, (and it is modeled after scientific models used by medical students) but, intention is important and the title, Virgin Mother, is Hirst’s way of pointing us back to the religious subject and forcing the comparison. Students of art history will see this as a trope in the Dechampian tradition, but viewed in the context of the post-human movement it could just as easily be our David.

Views and attitudes are never final nor are they ever independent of the social conditions from which they emerge.

Image top: Virgin Mother, Damien Hirst, 2005 Bronze, approx. 33′

Image bottom: St. Anne and the Conception of Mary, Jean Bellegambe, c. 1515, oil on wood, 36 x 26 cm

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Someone Fix this Experience! Carsten Höller at The New Museum

Carsten Höller at The New Museum, photo by robert egert, 102' slide for museum goers

What’s Wrong with this Experience?

They say this exhibit is breaking attendance records at The New Museum and it’s been described as an amusement park since it includes a 102 foot slide that cuts through the floors of the building as well as a mirrored merry-go-round. The problem (well, one of the problems) is that if it were compared to an amusement park it would fail in comparison to even the poorest amusement park you have ever seen.

But it gets worse: the exhibit is filled with objects and constructions that are supposed to deliver a physical, emotional or sensory experience but in fact, most of them fail to deliver much of anything.

  • A glass vial filled with a liquid that was supposed to elicit a feeling of emotion similar to love: no smell and no effect whatsoever
  • A mirrored merry-go-round was slow and boring
  • An electronic vibrator that, when applied to the arm and in combination with holding one’s nose, was supposed to simulate the feeling of having a long nose: Users following the instructions got no result
  • A fish tank with platforms that allowed visitors to stick their head into the tank presumably to simulate being in with the fish: I felt like I was on a platform with my head stuck into a hole and I could barely see the fish.

In sum, the Höller exhibit was more like an old, neglected children’s science museum than an amusement park—the kind of science museum that hasn’t been well maintained and simply doesn’t work.

Ever since Duchamp brought the urinal into the art gallery we’ve accepted the notion that context is everything. Accordingly we judge objects in a gallery by an entirely different standard than equivalent objects out in the world.

Judged as art, in any conventional sense, the Höller works are poor. Judged against a true amusement park or thrill-seeking enterprise, they fare even worse.

Perhaps it is time to apply higher critical standards.

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ROCA to Exhibit Works by Robert Egert

The Rockland Center for the Arts under the direction of curator Lynn Stein will be exhibiting works by Robert Egert in Gallery One.

Dates of exhibition: October 16th through December 4th
Opening reception: Sunday, Oct 16, 1-4pm

Robert Egert’s exhibition, entitled Unbuilt, consists of chalk drawings on paper and digitally printed texts created between 2008 and 2011. Two groups of work provide the focus for the exhibit. Unbuilt consists of drawings of imaginary sculptures in improbable spaces paired with text-based narratives. Red Chalk consists of drawings depicting everyday furniture engaged in human-like postures and poses.

Unbuilt is a exploration of the paradoxical nature of what it means to be an artist. To create a unique vision, the artist must create a space apart from the mainstream currents of society. In isolation the artist can create work that is true to itself and his or her unique vision. But the isolated space the artist works within is often inadequate in size and improbably static in relation to the unrelenting activity of contemporary life. Risking impracticality, absurdity, and obscurity, the artist endeavors to create an object that will, somehow, come to occupy a place outside the studio as either an object of provenance or as an image in memory. In Unbuilt, Robert Egert creates a series of narratives that, ultimately, reveal the indeterminate and risky nature of art and the uncertain life of artifacts in society.

Robert Egert was born in Brooklyn, NY in 1958 and studied fine art at Pratt Institute. Over the course of his evolution as a visual artist, he has worked in oil paint, sculptural assemblage, and mixed-media to explore the uncertain terrain of the conscious imagination. He currently resides in Engelwood, NJ.

For more information:
Lynn Stein
Tel: 845 358 0877
Email: lynnstein1@gmail.com
www.rocklandartcenter.org
Rockland Center for the Arts

27 South Greenbush Road
West Nyack, New York

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Williamsburg, Brooklyn Waterfront 1957

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Hurricane Irene Damage to Garnerville Arts and Industrial Center (Gaga Arts Center)

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At the request of the GHC (Garnerville Holding Company), which owns and operates the Garnerville Arts Center, photographs of the Center have been removed.

Please contact them for more information at www.gagaartscenter.org

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Avian observers of plastique moderne

Miles Egert Sculpture with 19 century hawk print

Photo: Predrag Dubravcic

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Christian Marclay’s Clock at Paula Cooper Gallery

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Clock is at once utterly different from any film you’ve seen before and completely familiar. As you probably know by now, the film with a runtime of 24 hours, strings together short clips from films that either refer to the time or show a clock on screen. The time in the film corresponds to the actual time of the screening. The film is a relentless series of references to the actual time while the context for these references are in ever changing flux.

Because the film is calibrated to actual time and the clock faces are nearly ubiquitous, watching Clock is like watching a clock. But unlike watching a real clock, the effect of watching Marclay’s film is mesmerizing and expansive. One has the sensation of having scanned an immense spectrum of human experience.

What emerges is a commonality of cultural references to particular time. That’s only is to be expected but that doesn’t dull the effect. One takeaway is that filmmakers use references to time to advance particular narrative tropes, most particularly to build tension and anticipation. The effect of watching tense scenes in a near continuous mosaic has a unique effect, bringing on anticipation without any resolution.

Because clocks in film are used so often to convey impatience, anxiety or anticipation, the brief excerpted narratives has the effect of conveying a series of crises that are never resolved. This effect calls to mind the musical effect of the Ring of the Niebelung that, like Clock, is an extended series of unresolved musical crises.

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A Systems Approach to Depicting the Human Body

Margie Neuhaus, Fragment

Margie Neuhaus, Fragment, Mixed Media

The human body as a subject in art tells us as much about our society as anything intended by the artist. Even representations of the inner workings of the body reflect social beliefs and cultural perspectives. The ancient Chinese, for example, had no tradition of autopsy and as a result had no clear mapping of the internal organs. Despite this, they were able to develop a sophisticated system of medicine based on the outward signs of inward disease.

Today’s dominant perspective on the human body is a systems approach (circulatory system, central nervous system, etc.). This can be interpreted as an expression of the way we educate and organize physicians professionally rather than an empirical truth.

Margie Neuhaus’ Fragment I. (2010) Copper coated steel, ink on mylar, vinyl coated wire, thread, plastic coated wire, acrylic, 42 x 18 x 20 inches

Margie Neuhaus’ ephemeral and buoyant constructions mimic the organic plumbing of the human body but the overall effect is closer to medical illustration than to a cadaver. Neuhaus’ hanging constructions are extremely light and seem magically suspended in space, similar to a hologram, an effect made more pronounced by the bright, translucent materials. They invite movement and one even wants to put a finger through the highly charged negative spaces.

All this results in a high degree of mental abstraction—in this case in the form of a highly refined aesthetic. Complimenting the sculpture, are a series of layered, translucent works on vellum. Much in the same spirit, they reproduce details of the nervous and circulatory systems, and like the three-dimensional work, they too leverage light and transparency to produce a glowing, charged effect.

As the inward conception of the body is the subject for Neuhaus’ work, O’Hare turns his gaze outward to the landscape—not as an examination of nature or society but as a mediated landscape that lies somewhere in-between. His subjects hang in the balance between the forces of industrial development and the regenerative power of the earth. O’Hare’s work takes the long view, making no distinction between successful industry and failed, forgotten remains.

With industry’s impact on the landscape as a subject, it would be easy to take a few obvious shots at the demon, but O’Hare’s photos are more complex and equivocal. They remind us that fortuitous accidents (are they miracles?) can happen anywhere—even on the backside of a corrugated metal warehouse.

They also suggest that nature, despite the abuse we throw at her, is resilient enough to demonstrate beauty and civility even after the civil engineers have their way with her.

Another theme in O’Hare’s work is an exploration of atmosphere—especially when it is thick with smoke, rain or particulates. Similar to his industrial images, these find beauty and mystery in the unexpected: The rain storm that one wants to get out of, or the acrid plume from a garbage fire.

While the prints included in this exhibit were the perfect scale for the venue, I can’t help but wonder how these images would look at a larger, more enveloping scale.

{Gg Gallery} 119 India Street, Brooklyn, NY 11222

mhstudionyc@gmail.com for an appointment,

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