Friday performance and party, or, it is all about Aaron Wrinkle
Friday begins a fairly impressive weekend of performance in town. Keith Rocka Knittel has curated an evening of video and performance to accompany the closing party at Cottage Home of exhibitions organized by two Boston galleries – Anthony Greaney and Samson Projects and also Aaron Wrinkle’s Dan Graham.
Hmm. Failing, as I always do, to find a website for Dan Graham – the one on Bernard St., that is – I have found that the web resistant Aaron Wrinkle now has a well fleshed our presence on the web. Yay! Last time I checked (May 20, 2010) Wrinkle had only a front page. Now he’s got pages with titles such as “About” “Volvo” “Delving” “Houses” “Commercials” “Institutionals” “DG’s” “Portraits” “Writings” “Templates” and “Landscapes.” (Except Wrinkle eschews initial capital letters.) And do you know something? Like many websites, I am not able to link directly to any of these pages, only am I able to link to the home page. I’ll have to trust you to do your own clicking.
On the other hand, I can quote liberally:
Born 1978, Aurora, Missouri
BFA Painting, Kansas City Art Institute, 2004
MFA, California Institute of the Arts, 2008
Lives and Works in Los Angeles, Ca
And now a few images.
Hey – I feel like I saw this Volvo project in Chinatown in 2008. I hadn’t made a connection to Aaron Wrinkle before now. It’s never too late to figure out what one is looking at.
Sweet, that one.
This next picture, too. I love it!
Cars at something like the cardinal points of the compass in the top picture. Cheerful abandon plus hawk above. Liking this “houses” tab, also having no notion what this project may be about.
In a few projects Wrinkle is doing some neat things with seamless digital image triptych and quadtich that I just cannot do justice to here. The images separate when I grab them and posting them individually would waste all Aaron’s efforts. Check out under “commercials,” “institutionsls” and possibly others.
From the “writings” tab:
“A Los Angeles Gallery Correspondence 2010
Thanks for your call and invitation. You might remember our conversation about LACMA in regards to my relationships to restoration and building. I think I joked about getting some of their walls. My interests w/ LACMA now are relative to your understanding of my works w/ other artists. The desktop works I mentioned to you on the phone are architectural drawings of different L.A. art sites with LACMA being one. After starting the LACMA one I realized it didn’t need to be finished, but rather carried out with a photograph of the West Wing to be installed in the West Wing’s atrium, proposing that it be hung permanently throughout the construction and finalization of the site’s future design. This essentially would section off my work and the previous state of the site w/ that of it’s assumed change. I’m positive in my interests to these changes, but interested in preserving some history as well. But this is a proposal for LACMA.
For – I want to mix my interests w/ artists and the museum. I’m interested in the gallery’s direct physical relationship to LACMA , its visual position to the public works by Burden and Baldessari and the museum’s overall evolution. I’m also interested in the potential it has to act as a hub for my proposals attached to the museum and most importantly how the project space can manifest itself as a site of viewing my investigations/artworks and LACMA’s overall make-up.
I would like to remove a section of the project room’s wall nearest LACMA to be removed for the viewing of LACMA as an artwork (This would obviously be returned back to normal). If this isn’t possible due to position or placement of architecture and or practicality I would like to find a way to direct gallery goers through a partition of sorts to the windows already provided in the area accessible. This would give them a unique way of looking at the museum and if relayed through the project space will automatically position it as an artwork in a traditional gallery setting.
The accompanying work will be the proposed photograph of the West Wing’s current state with the original architectural drawing. Both framed and behind glass. This will further highlight the viewer’s relationship of looking in or through to the site even if in re-representation. I would like for these works to go to LACMA. Along w/ these will be projections of Burden and Baldessari’s wikipedia profiles. These will highlight the history in these artist’s works and their current relationships as well as my curating of them and the displaying of them now as non-objects and ephemeral projections opposed to past placements of actual works.
On one designated wall I will paint a specific color drawn from LACMA’s palette. This will exist essentially as a monochrome painting that can be commissioned and painted in any home or site at any scale. Adjacent to it can hang a proposal of the idea in the same color framed. Both works will be for sale. A performance can be carried out by myself or a docent on to view the project through tours and lecturing as well as through the use of a potential security guard if needed for the backroom.
As sidebars and if possible I’d like to accomplish the photograph proposal and install it in LACMA’s West Wing and acquire a specific work from their collection to be installed in — (temporarily) at the time of the install of that work. I’m also interested in working w/ my friend Adam Feldmeth if he agrees to discuss his project on Blinky Palermo that dates back to the artist’s work in the historic Venice Biennale in the 70′s w/ that of it’s remake at the most recent Venice Biennale and also Adam’s tour at the recent retrospective at LACMA.
I must say that although this idea is coming at you very quickly from our phone conversation, it feels very evolved from what I’ve been thinking about. It feels right to me. I’m interested in doing this work or something relative to it if the opportunity is there. I hope this is’nt too much for you to sift through…
I will also be doing an architectural proposal drawing for your site.
Thanks again for your invitation and I’m looking forward to more conversations.
I could get more excited the more actively you involve Baldessari and Burden.
FYI, the wall contains a door so cannot be moved.
I have to decline an invitation if it is to prioritize Baldessari and Burden’s work over my own. It would be unrewarding for me to set aside my investigations on these artists, LACMA and my involvements with a peer to merely involve myself with Baledessari and Burden within the typical standards of how their work is presented and advertised.
There seems to be a misunderstanding of my practice as my involvements with artist’s and their works are examinations of how they’re represented not acts of promotion unless related to how they’ve been supported by others.
What would be the basis of curating a show on these artists? Where would the work come from? Is this what you are suggesting I do?
I do appreciate your interest in my practice.
I am not suggesting you do anything. Projects interest me or they do not, and I am always ready to say yes to those that do.
A heartless being that mindlessly kills. A land shark, sleek and made to be admired and driven. Allegory or fable?
And then, or rather – prior to the above on Wrinkle’s site:
“DAN GRAHAM Press Release 2009
1842 Glendale Blvd.
Los Angeles, CA 90026
By Appointment Only
FOR IMMEDIATE RELEASE
Dan Finsel and Cary Georges
October 2 – October 30, 2009
Opening Reception: Friday, October 2nd, 8–11 pm
Live Performances by DG (Aaron Wrinkle and Laura Kim)
and The Order (Cary Georges and Davey Shook) at 10 pm
On October 2nd, 2009 a portion of a revamped storefront in Echo Park is being presented as an exhibition space called Dan Graham. Dan Graham, the inaugural exhibition, will include works by Dan Finsel and Cary Georges. This exhibition proposes new ways of re-examining historical presentations of monochrome painting and performance and conceptual sculpture through contemporary presentations of pop-cultural, art historical and conceptual production and analysis.
The mission of this site is to function as an exhibition space, to facilitate research, lectures and critiques. The aim is to create a context that’s conscious of the past, present and future contents and forms of art.
“We should readily ask ourselves if we regularly take the content of a given show for granted? Do we have the tendency to overlook work in it? Or the work that went into its making? Or the making of the work in it? Aaron Wrinkle’s Dan Graham space takes its first steps as a gallery and a “gallery” after many were taken in its making…to ask what constitutes the foundation of a gallery, as architecture designated for a specific use and as a framework to explore in and of itself…Wrinkle’s choices to pursue this project involve generating this very question.” (excerpt from “Dan Graham 1842: A building can only ever come from (a) building” written by Adam Feldmeth)
In his psycho-sexual performance video work, Dan Finsel investigates the structures of digital video production through sampling, editing, gender flip dress-up and strategic presentation. He has managed this through side-stepping digital video production’s common animated use value of green and blue screens by simply using them as background wall paintings in his videos and video installations. This framing puts emphasis on the appropriative narratives FInsel presents so chillingly in his excavations of the pop phenomena television series Beverly Hills 90210 and his oedipus like predicament with the recently deceased and side-stepped celebrity Farrah Fawcett (before her death). In a recent presentation of his 90210 derived video at the Malibu Art Fair with Parker Jones Gallery, Finsel left the blue and red plaid carpet, which the rest of the fair hosts’ chose to remove from the site, in an office like room of a once-school for troubled youth. He threw a monitor up to present his video and painted blue screen paint in recta-linear form/fashion on a newly built wall. This turned out to be the best case scenario for Finsel’s work as it solidified the potential for content and contextual overlapping to occur. Imagine the room here was once the principal’s office, the monitor displaying evidence of the troubled teen and the wall painting an art history lesson on monochrome painting.
For Dan Graham, Finsel has put away plot and video presentation to give the viewer a more immediate relationship solely with the green screen through the means of material nurture and an acknowledgment of monocrome painting. This choice highlights the essential visual sameness of a green screen and a monochrome while simultaneously allowing both contents to differentiate themselves, proposing an exorcism of modern visual meaning through the tactics and tools of a pop cultural and postmodern toolbox. This all being projected on and in a white wall context.
Cary Georges, an artist /musician, is the perfect candidate to re-represent, validate or give proof to the contemporary worth of conceptual art. For his thesis at CalArts, Georges gave a finger to the normalcy of academic pretension through his manipulation of attributes relative to conceptual, performance and post minimal practice. By exploiting the tropes akin to conceptual art’s performance documentation and forms of post minimalist sculpture in videos of weight lifting and jump roping mixed with a little bit of weed, grafitti and tie dye, Georges reconstituted what good conceptual art can be. This notion was elevated by a video of the artist stacking cinder blocks on a football field, which were then placed in the gallery with “let’s fuck”, “death awaits you” and a pot leaf scrawled across them to accompany the other performance videos and a tie dyed banner that read “real”. Although, a distinction could be seen here between the difference of making art in an art institution and the more athletic, almost military context of a football field, this conflation of usually proposed oppositional contexts, that being the academic and the athletic along with Georges’ choice of words or “language”, advocates for a much needed focused language-driven and socially rich art form. What is real here is the notion of art-making itself with its representations of the now and then. By manipulating this historicity and challenging typical reads and presentations of conceptual art and minimalist gesture Georges actually ends up supporting and elevating these forms by attaching meaning. This meaning gets back to the commonalities of what actually was and is occurring, which is fucking and dying, not non-meaning or so called non-representational object making.
For Dan Graham, Georges has created a similar manifestation in the form of time based sculpture. Here he has fabricated a sculpture to grow marijuana. This piece highlights recent progressive thinking in California legislature for the decriminalization of the drug, while at the same time shows Georges’ determination to continually examine and shift the ideas of what is contemporary conceptual sculpture.
This exhibition is accompanied by two essays by Adam Feldmeth.”
Thanks Aaron, for letting me cruise around on your website and grab images at will. Or I guess rather, I hope you don’t mind. It is a real surprise for me to find all this work, and especially all these images. A real nice surprise! I like the pictures, I appreciate the thought behind them!
I guess I’ve missed a lot, and perhaps am a bit slow. (I often feel like the last person on the block to find wonderful work, when I do find it.)
I think also that your work adopts a metier or schema of inscrutability. You are something like a cold swimming pool with push back. “Um. Right, that’s fanciful, Geoff. And not terribly complimentary sounding.” Oh dear. Intellectual swimming pool, deep end. Resistance to interpretation – it’s all good stuff Aaron, trust me!
From Petulant Aaron to Fashion Plate in three images. Yay.
My friends, although I only briefly mentioned the party on Friday at Cottage Home, I’m hopeful that I kept you looking and reading long enough that you’ll consider attending. When I don’t know much about an event I have to find some way in….
I posted the above at 10 pm or Wednesday, Feb 16. Now it’s 7:30 am on the 17th. I had a curious insight this morning. When I was a kid and lived in the hills of Diamond Bar, I would “make my circuit,” doing solo walks day and night, checking on all the familiar canyons and valleys, big trees and little stream, building developments, etc., and I would tell myself magical stories about these places. Sometimes (often really, since DB was being developed all the time I lived there) I would find something absolutely new at one of my stations of the cross. “Eek and wow,” I’d think with consternation. “What can this mean?”
I behave similarly now, in the LA art world. I have my stations of the cross – be they geographic neighborhoods, temporally based stops on my map, particular artists and characters – I check all these out once in a while, in what ends up having a sort of regularity. Once in a while, as last night with the website of Aaron Wrinkle, I travel a familiar path, and I turn a corner expecting to find what I found once before – then shazaam. New stuff.
Life is good, here in Notes on Looking-land.
Updated on August 19, 2011 with current writing by and about Arron Wrinkle:
Aaron Wrinkle, preamble – Friday Night Party and Performance, or “It is all about Aaron Wrinkle”
Aaron Wrinkle, part one – Making Myth with Aaron Wrinkle, or The Studio Visit
Aaron Wrinkle, part two – I went to a garden party
Aaron Wrinkle, part three – News from “right back at you Aaron”