With the artist’s reception in a large Budget rental truck, accompanied by a performance piece involving libations and black lights, “Proliferations Part 2” was both provocative and engaging. Viewing the show itself meant being escorted by minivan through a security gate to a roll-up-door storage unit, which was brought down once participants had entered. Viewing works in close proximity not only invoked a strong sense of anticipation, but a participatory aspect to the actual exhibition. “Proliferations Part 2” comes from the curatorial collective OFF Space, which is composed of artist-curators Kathrine Worel, Elyse Hochstadt, and Emmanuelle Namont Kouznetsov. The exhibition included works by Alexis Arnold, Alicia Escott, Michael J. Ryan, and Erica Gagsei. The pieces exhibited were constructed from man-made objects, transformed into organic shapes and forms that were then deliberately set against a wooden backdrop.
With their technologically based pieces, artists David Stein and Peter Foucault utilized this confined location to illustrate the dichotomous nature of excess and lack within a space. Michael Kerbow's Meat Map simulated a pull-down wall map, thus creating a simulacra of memory based on grammar school geography classes.
In comparison, a viewing of “Proliferations Part 1” at Rhodes & Fletcher Wealth Management offices congruently emphasized the various ways in which environment plays a role in our perception and reading of art. Although no special code was needed, “Part 1” required permission in the form of an appointment to view the works. In “Part 1,” there was a clear distinction between art and venue, whereas “Part 2” drew heavily from the environment to provide the viewer context. Artists from “Part 2” palpably incorporated the environment to have each piece function and become experiential. Although extremely different settings, both sites obligated the viewer to engage in a process of perception and valuation. This engaging was as much a part of the exhibition as the work itself, though that might not have been the original intention. Overall, it would be difficult for a viewer to ignore the environment in these exhibitions, as they are so different from the typical gallery setting we have become so accustomed to.
With their technologically based pieces, artists David Stein and Peter Foucault utilized this confined location to illustrate the dichotomous nature of excess and lack within a space. Michael Kerbow's Meat Map simulated a pull-down wall map, thus creating a simulacra of memory based on grammar school geography classes.
In comparison, a viewing of “Proliferations Part 1” at Rhodes & Fletcher Wealth Management offices congruently emphasized the various ways in which environment plays a role in our perception and reading of art. Although no special code was needed, “Part 1” required permission in the form of an appointment to view the works. In “Part 1,” there was a clear distinction between art and venue, whereas “Part 2” drew heavily from the environment to provide the viewer context. Artists from “Part 2” palpably incorporated the environment to have each piece function and become experiential. Although extremely different settings, both sites obligated the viewer to engage in a process of perception and valuation. This engaging was as much a part of the exhibition as the work itself, though that might not have been the original intention. Overall, it would be difficult for a viewer to ignore the environment in these exhibitions, as they are so different from the typical gallery setting we have become so accustomed to.
