Installation Art – Page 13

Dec 172023

The Arts Annual at Creative Pinellas is always a great way to see what the artists in the area are creating. For 2023’s larger than ever edition, there is also a separate space for a video program that includes short films, theater productions, poetry readings, musical performances and more.

Artists included in the exhibition-

Tatiana Baccari, Elizabeth Barenis, Christina Bertsos, Daniel Barojas, Chomick + Meder, Courtney Clute, Neverne Covington, Sheila Cowley, Patricia Kluwe Derderian, Nikki Devereux, Javier T Dones, Dunedin Music Society, Sara Ries Dziekonski, Sarah Emery, Roxanne Fay, Jean Blackwell Font, John Gascot, Denis Gaston, Mason Gehring, Donald Gialanella, Jim Gigurtsis, Kevin Grass, Sheree L. Greer, Jason Hackenwerth, Steph Hargrove, Patrick Arthur Jackson, Reid Jenkins, Kenny Jensen, Charlotte Johnson, Victoria Jorgensen, Steven Kenny, Candace Knapp, Akiko Kotani, Teresa Mandala, Cora Marshall, Carol Mickett & Robert Stackhouse, Miss Crit, Mark Mitchell, Chad Mize, Desiree Moore, Zoe Papas, Gianna Pergamo, Rose Marie Prins, Gabriel Ramos, Babs Reingold, George Retkes, Heather Rippert, Ashley Rivers, Marlene Rose, Ric Savid, Tom Sivak, Sketzii, Emily Stehle, Rachel Stewart, Erica Sutherlin, Takeya Trayer, Judy Vienneau, Kirk Ke Wang, Angela Warren, and Joseph Weinzettle

The show is on view until 12/31/23.

Below are some additional selections from the exhibition.

Reid Jenkins, “Holding Court”, Acrylic

Candace Knapp, “What the Blue Heron Sees” and “The Light Within” Acrylic on canvas

Daniel Barojas, “Future Ancestor”, Gouache, acrylic, gold leaf on canvas and “Future Ancestor #3”, Gouache and resin on paper

Rachel Stewart, “Caribbean Currents” Colored pencil, oil stick and collage on Archers archival paper; “Under a Different Sky”, Wall installation Painted relief wood construction with cooper and mixed media materials; Printing Ink and collage on rice paper

Mark Mitchell, “The BurgHive”, Acrylic on Hexagonal canvases

Sketzii,”Out of the Pink Concrete”, “Reclamando Mis Raices” and “A Señora’s Dream”, Acrylic on canvas

Steph Hargrove, “Catch You Later”, Acrylic paint, paper on canvas

Marlene Rose, “Three Bell Tower”, Sandcast glass and “Map Triptych” Sandcast glass

Heather Rippert, “Shakti” (center) and “Hawk 1, 2, and 3”, acrylic on canvas

Throwback Thursday- Paige Jiyoung Moon at Steve Turner LA

Art, Art Shows by Location, Artists, California Art Shows, Installation Art, Los Angeles Art Shows, Painting / Painters, Palm Springs, Public Art, Sculptors / Sculpture, Television, Video and Film

Dec 142023

Mirror House, 2016 by artist Paige Jiyoung Moon was one of the paintings in her 2019 exhibition, Days of Our Lives at Steve Turner in Los Angeles. Her works are all of scenes from her life, painted from memory.

She is currently part of Hammer Museum’s most recent biennial, Made in L.A. 2023: Acts of Living, its sixth iteration, on view until 12/31/23.

The house in the painting, Mirage, was created by Doug Aitken for Desert X in 2017. On the fictional television series, The Curse, created by Nathan Fielder and Benny Safdie, the main characters are building houses with similar look.

Florida Art Shows- Melissa Spitz’s “You Have Nothing to Worry About” at Heiress Gallery in St. Pete

Art, Art Shows by Location, Artists, Florida Art Shows, Installation Art, Photographers / Photography, Pinellas County, Sculptors / Sculpture, St. Pete

Dec 122023

Heiress Gallery in St. Pete is currently showing Melissa Spitz’s solo show You Have Nothing to Worry About, a moving portrait of her mother’s mental illness and substance abuse.

From the gallery about the exhibition-

In her solo exhibition at HEIRESS, Spitz presents medium-to large-format prints of her iconic images. The works are installed in a chaotic environment, scattered amongst the detritus of familial tragedy: her mother is found in the context of hundreds of pills and pill bottles, a glimpse into the chaos that Spitz and her family have dealt with for many years. Thousands of 4×6 glossy photos are scattered on a table in the center of the space and invites gallery visitors to attempt to make sense of the nostalgia that they hold. In addition to photographs, Spitz has included new sculptural works including ten enameled hammers titled, You Are the Nail, which encourages an examination of the over-reliance of pharmaceutical solutions in the United States. Spitz’s work freezes moments of chaos in time, to be dissected and understood by the artist after the fact. The majority of her most intimate traumatic life experiences are captured through her lens, and finds a second life in the digital sphere on Instagram, to a community of over 50 thousand followers, which blurs the lines between catharsis and entertainment.

From the artist about the exhibition-

Since 2009, I have been making photographs of my mentally ill, substance-abusing mother. Her diagnoses change frequently-from alcoholism to dissociative identity disorder–and my relationship with her has been fraught with animosity for as long as I can remember. I am fully aware that my mother thrives on being the center of attention and that, at times, our portrait sessions encouraged her erratic behavior.

The photographs are simultaneously upsetting and encouraging; honest and theatrical; loving and hateful. By turning the camera toward my mother and my relationship with her, I capture her behavior as an echo of my own emotional response. The images function like an on going conversation.

The series in installation form encourages an examination of the role prescription drugs play in the United States. Aiming to prompt discussions on the cultural, social, and individual implications of an overreliance on pharmaceutical solutions. Through visual metaphors and imagery, You Have Nothing to Worry about continues to raise awareness about the need for a balanced and holistic approach to health and well-being. While acknowledging the limitations and potential pitfalls of relying solely on prescription medications.

The immersive exhibition functions as a thought-provoking commentary on the pervasive and complex issue of prescription drug culture in America. Through the meticulous arrangement of pill bottles, pills, photographs, and family ephemera, I seek to engage viewers in a dialogue about the consequences of our society’s reliance on pharmaceutical drugs.

The Vanity, pictured above, which includes family notes and photos, adds even more depth to the family’s struggles.

From the artist-

I have always been interested in sculptural installations and photography. Sandy Skoglund, Jeff Wall and Carrie Mae Weems are a few big names who have directly inspired me. The obsessive nature of details and experience only add to telling a story and I’ve been eager to find a way to participate. This vanity belonged to my great-aunt Sophie and has been in my bedroom my whole life, it went to college and graduate school with me, and my brother has been storing it since I moved to New York. This exhibition presented the perfect opportunity to utilize it. Informed by actual experiences, The Vanity, showcases family ephemera, letters from my mom, pill bottles, scattered pills, lipsticks and flickering candles. The mirror allows viewers to reflect on their own shared familiarity.

Spitz also created You Are The Nail, pictured below, for the exhibition.

Her description of the work-

I’m not sure when I first heard the phrase “when your only tool is a hammer, you begin to see everything as a nail” but it was used regarding my mom being over medicated and her prescriptions mixing, sending her into another psychotic episode. It wasn’t the doctors’ fault, or mom’s or the pharmacist but the drugs, they were to blame. I was frustrated and angry and confused, but too young to understand that doctors received kickbacks for writing certain prescriptions and that patients like my mom were a goldmine. I do want to be clear that I know anti-psychotic medications have saved people’s lives and mom would not be able to function normally without a carefully balanced mix of mood stabilizers, anti-depressants and anti-anxiety pills. But all too quickly do I find doctors in almost any capacity pushing drugs on me…I was alarmed to learn that the United States pharmaceutical industry generates over 110 bilion dollars of revenue each year.

You are the Nail is a series of ten hammers representing the ten most prescribed anti-psychotic / antidepressant pharmaceutical drugs in the United States. Several of which my mom is prescribed. Informed by Abraham Maslow’s theory of over reliance, you are the nail visually depicts our mental health field’s greatest tool, prescription drugs. The hammers are titled, Zoloft, Lexapro, Trazadone, Prozac, Wellbutrin, Cymbalta, Seroquel, Celexa, Vensir and Abilify.

This exhibition closes 1/13/24.

SHINE Mural Festival 2020- BASK

Art, Art Shows by Location, Artists, Collage, Conceptual Art, Florida Art Shows, Florida Street Art, Installation Art, Mixed Media, Painting / Painters, Public Art, Sculptors / Sculpture, St. Petersburg Street Art, Street Art, Tampa

Dec 072023

In the Deep Space of the Sea I Have Found My Moon by Ales Bask Hostomsky aka BASK was created for the 2020 edition of the SHINE Mural Festival in St. Pete, Florida.

You can also see his work at his exhibition B.A.S.K.: Because Art Should Kill at The University of Tampa’s Scarfone/Hartley Gallery, on view until 12/15/23.

Florida Art Shows- Kenny Jensen at Community Foundation Tampa Bay in St. Pete

Art, Art Shows by Location, Artists, Conceptual Art, Florida Art Shows, Installation Art, Mixed Media, Painting / Painters, Pinellas County, Sculptors / Sculpture, St. Pete

Dec 072023

“Fluorescent Dwarf”, 2017, Acrylic and water based aerosol on wood panel, pattern traced from found branch with wood boring beetle larvae trails (the source branch is on display directly to the left)

“The Expanding Universe”, 2017, Hand cut (jigsaw) plywood, water based spray, nails, pattern traced from found branch with wood boring beetle larvae trails

“Transcend and Include”, 2019, Wood boring beetle larvae paths traced from a dead cedar tree hand-cut from re-purposed Aluplast, water based spray

Community Foundation Tampa Bay works to match people and organizations with the resources they need to carry out projects that make a positive impact on local communities. In their space in St. Pete they also exhibit work by local artists. Currently on view are selections from Kenny Jensen’s Paths of Consumption series.

From the artist about this work-

As a Florida native who spent much of my childhood outdoors both in the city and the country, I have always had an essential connection to our unique natural environment. This relationship has steadily deepened over the years through my evolving art practice, and related ecological research. Becoming a parent has also raised the stakes and heightened my ecological awareness and concern. As a result there is a tension present in my work – An earnest desire to share the wonder and mystery I continually encounter in common, overlooked nature while also expressing grief and frustration over what is actively being lost.

All of the work on display here is a part of an ongoing environmentally focused sculpture project entitled Paths of Consumption which recreates found patterns eaten out of by various insect larvae at exaggerated scale and with a full spectrum of layered hues. This series is a meditation on our consumption of the natural environment. The inverted insect paths act as a kind of metaphorical map to guide us to reflect on our own record of consumption as we develop and grow, both as individuals and as a society.

Also on view at the gallery are digital works from Nick Davis’s Black is Beautiful series. Sadly, Davis passed away in December of 2022.

Tampa Art Shows- “Native America: In Translation” at USF Contemporary Art Museum

Art, Art Shows by Location, Artists, Collage, Conceptual Art, Fiber Arts, Florida Art Shows, Installation Art, Mixed Media, Painting / Painters, Photographers / Photography, Sculptors / Sculpture, Tampa

Nov 292023

Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum-

“The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, detail

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

Throwback Thursday- Jeffrey Gibson’s “Alive” for Desert X 2017

Art, Art Shows by Location, Artists, California Art Shows, Installation Art, Mixed Media, Palm Springs, Sculptors / Sculpture

Nov 232023

ALIVE! by artist Jeffrey Gibson was created for the first edition of the biennial Desert X in 2017, and is on view in the sculpture garden of the Palm Springs Art Museum.

It was recently announced that Gibson was selected by the U.S. State Department to represent the country at the 2024 Venice Biennale. He is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, and will be the first Indigenous artist to have a solo exhibition in the U.S. Pavilion at the event.

The artist’s statement about the work from the Desert X site-

ALIVE! is a found object ready made sculpture altered with paint and text that reads: I am alive! You are alive! They are alive! We are living!

I chose to work with a wind turbine blade because of how it alters one’s perceptions when they look out across the desert landscape. They are enormous and when viewing one up close you get a sense of the expansiveness of the desert landscape that they occupy. They are also really beautiful in form and their shape reminds me of something like a wing, a fin, or a bone from a massive whale. The text references the people who live in Palm Springs and the original indigenous people who occupied this land and their belief that the landscape is living.

Florida Art Shows- “SUPERFLEX:This Is The Tip Of The Iceberg” at USF Contemporary Art Museum St. Pete

Art, Art Shows by Location, Artists, Florida Art Shows, Installation Art, Mixed Media, Pinellas County, Sculptors / Sculpture, St. Pete, Video and Film

Nov 152023

The images above are from SUPERFLEX: This Is The Tip Of The Iceberg, GENERATOR: USF Contemporary Art Museum’s inaugural exhibition. The two part exhibition includes a sculptural installation and the mesmerizing interactive animation Vertical Migration, in which viewers encounter a siphonophore that reacts to their movements.

From the gallery about the exhibition-

This Is The Tip Of The Iceberg emerges from SUPERFLEX’s in-depth research into the deep sea, biodiversity, and the climate. The exhibition immerses viewers in two parallel and interconnected realms, separated by a curtain which acts as an imaginary filter between land and sea. Passing through the curtain brings visitors from a terrestrial space unsettled by rising water to the ocean’s dark depths, to meet one of the most important cleaners of the ocean, the siphonophore. Relatives of the jellyfish, siphonophores bring between two and six billion tons of carbon a year from the surface down to the seabed, where it is stored. This Is The Tip Of The Iceberg offers an opportunity to encounter this unfamiliar species, prompting reflection on the impacts and consequences of climate change, especially relevant to Florida and its coastal communities, and encouraging humans to imagine a future defined by interspecies living and ecological coexistence.

For a more detailed discussion of the work, the gallery has created an exhibition catalogue that can be viewed online or downloaded as a pdf.

Vertical Migration was originally created in 2021 by SUPERFLEX for ART 2030 and was projected on the United Nations Secretariat Building in NYC during the 76th United Nations General Assembly.

SUPERFLEX’s statement on the project-

The sea is not an abyss. It teems with an almost unimaginable array of life. Every night, the largest biological migration on Earth takes place, as trillions of creatures travel closer to the surface to feed. Some of these animals, like shrimp, are well-known. Others, like siphonophores—relatives of jellyfish—are unfamiliar: varying wildly in size, from the slightness of a fingernail to the length of a whale, they look like nothing that we find on land.

How does it feel to be one of these creatures? To explore this question, SUPERFLEX designed a computer-generated siphonophore and created an animated film, Vertical Migration, depicting its ascent. At first, the film mechanically circles the creature, getting closer and closer while giving the audience a view of it from all angles. But eventually the perspective shifts, the camera’s movements become more fluid, and the viewer sees the world from the perspective of the siphonophore.

Unsettling our perceptions of scale and otherness, Vertical Migration is an intimate encounter with a life form that bears no resemblance to human beings, though we share a planet, an ecosystem, and a future. Because of sea-level rise, humans will also be migrating vertically in the coming centuries, to higher elevations and raised buildings. The siphonophore’s story is our story. Though we can never experience its journey through the pitch-black ocean depths, we can shift our perspective to recognize that we’re connected, that our actions affect each other, and that we share a common fate.

For a look at the work in motion, below is the trailer from ART 2030.

About SUPERFLEX from their website-

SUPERFLEX was founded in 1993 by Jakob Fenger, Bjørnstjerne Christiansen, and Rasmus Rosengren Nielsen. Conceived as an expanded collective, SUPERFLEX has consistently worked with a wide variety of collaborators, from gardeners to engineers to audience members. Engaging with alternative models for the creation of social and economic organisation, works have taken the form of energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, and public spaces.

Working in and outside the physical location of the exhibition space, SUPERFLEX has been engaged in major public space projects since their award-winning Superkilen opened in 2011. These projects often involve participation, involving the input of local communities, specialists, and children. Taking the idea of collaboration even further, recent works have involved soliciting the participation of other species. SUPERFLEX has been developing a new kind of urbanism that includes the perspectives of plants and animals, aiming to move society towards interspecies living. For SUPERFLEX, the best idea might come from a fish.

This exhibition closes 11/22/23.

Florida Artists and Studios- Carol Sackman and Blake White’s Mosaic House of Dunedin

Art, Art Shows by Location, Artists, Conceptual Art, Dunedin, Dunedin, Florida Art Shows, Florida Travel, Glasswork, Installation Art, Mixed Media, Painting / Painters, Pinellas County, Places to Visit, Sculptors / Sculpture

Nov 142023

This past weekend was Studio Waltz, an annual artist studio tour that takes place around Dunedin and Palm Harbor. One of the stops was The Mosaic House of Dunedin.

Carol Sackman and Blake White’s magical home has so much going on you almost don’t know where to look first. The couple teach classes from November thru April and can be contacted for tours of their home.

The Mosaic House was also featured in a gallery exhibition at the Dunedin Fine Art Center last year.

Spotted while at their home was a mural, pictured below, by former local artist Jennifer Kosharek, pictured below. She recently relocated to Alaska.

Florida Art Shows- B.A.S.K. at University of Tampa’s Scarfone/Hartley Gallery

Art, Art Shows by Location, Artists, Collage, Conceptual Art, Florida Art Shows, Installation Art, Mixed Media, Painting / Painters, Tampa

Nov 092023

The University of Tampa’s Scarfone/Hartley Gallery is currently showing the creatively displayed B.A.S.K.: Because Art Should Kill, work by Aleš Bask Hostomsky aka BASK. The exhibition also allows visitors a chance to participate by adding their own marks to a wall in the show.

From the gallery-

Known for his iconomorphic revisitation of contemporary images, BASK’s work highlights the transformative ability of hybridization. Offering layered deconstruction and reconstruction, each piece pushes viewers to look anew at culturally infused images and text, in order to consider what they say about the viewer and the culture that developed them.

BASK’s bricolage style takes the known and familiar, the distressed and destroyed, and merges them to create windows through which visitors can explore places of unanchored interpretations and ask a multitude of questions of the piece and of their interpretations.

This exhibition closes 12/15/23.

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