Showing posts with label John Wood. Show all posts
Showing posts with label John Wood. Show all posts

21/05/21

John Wood & Paul Harrison @ Cristin Tierney Gallery, NYC - Bored

Wood and Harrison: Bored 
Cristin Tierney Gallery, New York 
Through June 12, 2021 

Wood and Harrison
WOOD AND HARRISON
Bored Astronauts on the Moon, 2011 
Single-channel HD video. 20:00 minutes
© Wood and Harrison
Courtesy Cristin Tierney Gallery

Boredom as a subject has a significant legacy in contemporary art. Bruce Naumann has returned to it again and again. John Baldessari famously promised not to make any more “boring art” and artists as diverse as John Cage, Andy Warhol, and Yoko Ono have conjured up artwork after artwork where nothing happens. Literally. It is within this (boring) lineage that Cristin Tierney Gallery presents a selection of works by John Wood and Paul Harrison.

Boredom, as explored through video, sculpture, paintings and works on paper by the British artists, is both a source of creativity and a joke about the limitations, blockages, and failures experienced in the studio. In Bored Astronauts on the Moon, the artists present themselves as modern astronauts who stand or walk around in silence on a lunar landscape. The video was shot in their studio, on a set designed to look like the Moon. It is a destination synonymous with adventure and excitement, but any initial enthusiasm soon gives way to tedium as minimal amounts of action unfold over the video’s twenty minutes. As the artists explain, “For us it wasn’t about the quest to conquer the world or space, although it clearly references that desire. It’s more about making an ongoing representation of the world, but all from the confines of our studio.”[i]

Chair/Gum further investigates the notion of boredom with similar absurdist humor. The sculpture consists of a readymade chair constructed with a wooden seat and metal legs. It could easily be imagined in a classroom or studio, but this is where the work’s ordinariness ends. Under the seat and stretching down to the floor are hundreds of pieces of chewed bubble gum, stuck together in one giant mass. A single piece of gum on the underside of a chair might suggest a disinterested student; an enormous wedge built from layers of gum applied over time beggars belief. How bored could one be to completely fill the space under their chair with pieces of the same kind of gum, over and over again? The supposition laid out by the artists is laughable.

Bored is the artists’ first solo gallery exhibition in the US. In summer 2020, the gallery released an online retrospective of their work titled The First 30 Years. It surveys some of the artists’ most significant videos, sculptures, drawings and more produced over three decades of collaboration. 

JOHN WOOD (b.1969, Hong Kong) and PAUL HARRISON (b.1966, Wolverhampton) make single-channel videos, multi-screen video installations, prints, drawings, and sculptures that elegantly fuse advanced aesthetic research with existential comedy. The artists’ spare, to-the-point works feature the actions of their own bodies, a wide variety of static and moving props, or combinations of both to illustrate the triumphs and tribulations of making art and having a life. The videos maintain a strict internal logic, with the action directly related to the duration of the work. Inside this "logical world" action is allowed to happen for no apparent reason, tensions build between the environment and its inhabitant, play is encouraged and the influences on the work are intentionally mixed. In their not-always-successful experiments with movement and materials, many of which critic Tom Lubbock has described as “sculptural pratfalls,” Wood and Harrison employ exuberant invention, subtle slapstick, and a touch of light-hearted melancholy to reveal the inspiration and perspiration—as well as the occasional hint of desperation—behind all creative acts. John Wood and Paul Harrison met in 1989 at the Bath College of Higher Education and have worked together since 1993. 

[i] Bruno Volpi, “Things That Happen,” Dazed (February 23, 2012): 
https://www.dazeddigital.com/artsandculture/article/12718/1/things-that-happen

CRISTIN TIERNEY GALLERY
219 Bowery, New York, NY 10002

11/12/17

Phoenix Art Museum, The Logic of the Copy: Four Decades of Photography in Print - Photomechanical Printmaking from the Center for Creative Photography

The Logic of the Copy: Four Decades of Photography in Print
Photomechanical Printmaking from the Center for Creative Photography

Phoenix Art Museum

Through April 22, 2018


Andy Warhol
Andy Warhol
Sunset, 1972 
Screenprint
Collection Center for Creative Photography
© The Andy Warhol Foundation for the Visual Arts, Inc.

Phoenix Art Museum presents an exploration of the photographic revolution that began during the second half of the 20th century. The Logic of the Copy: Four Decades of Photography in Print spans the period from 1960 through the early 2000s and highlights the influence of artists as diverse as Robert Heinecken, Andy Warhol, Robert Rauschenberg, James Turrell, and Tacita Dean who began to integrate photography with text and the graphic arts. This explosion of photographic printing was a crucial factor in the transformation that took place in the art world during this time, from the democratization of the artistic economy to the conceptual shift toward cross-disciplinary forms of art. The exhibition is organized by Phoenix Art Museum in collaboration with its longtime partner, the University of Arizona’s Center for Creative Photography.

“We are delighted to continue the collaboration between the Museum and the Center for Creative Photography through this exhibition,” said Amada Cruz, the Sybil Harrington Director and CEO of Phoenix Art Museum. “It is a privilege to showcase the Center’s world-class collection in The Logic of the Copy, and we look forward to sharing these exciting, mixed-media works with our community.”


William Henry Jackson
William Henry Jackson
Utah. The Giant’s Club and Kettle, Green River, 1898
Photo-chromolithograph
Collection Center for Creative Photography.


Betty Hahn
Betty Hahn
Untitled (The Lone Ranger), 1976
Screenprint
Collection Center for Creative Photography
© Betty Hahn.

The hybrid process of photomechanical printmaking was an essential vehicle for change in the art world. Artists working during this period began turning away from Modernism and its emphasis on the essential qualities of and boundaries between different media, and toward the exploration of new forms across artistic disciplines. The explosive popularity of photomechanical printing among artists led to a wide range of multi-faceted, mixed-media works, exemplified by the selections featured in The Logic of the Copy: artist’s books and portfolios by artists hoping to expand their economic possibilities beyond the gallery system; large-scale prints by painters who were experimenting with photographs alongside more traditional media; and small works derived from commercial objects, from postcards and tarot cards to politically-charged images overlaid on magazines.

“The printmaking and photography booms are an especially crucial period of study, as the same concerns that motivated these artists are relevant in today’s digital environment,” said Andrew Kensett, curatorial assistant and the acting assistant curator at the Center for Creative Photography. “The practices of sharing images widely, using art as a medium for social and political engagement, and promoting the general democratization of art were at the forefront for artists working in print during this period, and their history is inextricably tied to our present moment.”


Joan Lyons
Joan Lyons
Untitled from the series Presences, 1980
Offset lithograph
Collection Center for Creative Photography
© Joan Lyons.


John Wood
John Wood
Untitled, 1980
Offset lithograph
Collection Center for Creative Photography
© John Wood.

Taking its title from a line in “Photography’s Expanded Field,” George Baker’s 2005 essay investigating the overlap between photography and related media, The Logic of the Copy brings together a wide range of artists who worked with photographs in print. In addition to the artists mentioned above, the exhibition will include examples of pioneering artist’s books by makers including John Baldessari, Susan King, Bruce Nauman, Ed Ruscha, Keith Smith, and Clarissa Sligh, and prints by Thomas Barrow, James Casebere, Jim Dine and Lee Friedlander, Betty Hahn, Mark Klett, Sherrie Levine, Sigmar Polke, and others.


Mark Klett
Mark Klett
Desert Citizens #45, 1989-90
Photogravure
Collection Center for Creative Photography
© Mark Klett.


Thomas Barrow
Thomas Barrow
Untitled from the series Studio Notes, 1992
Lithograph
Collection Center for Creative Photography
© Thomas Barrow.

This exhibition is organized by Phoenix Art Museum and made possible through the generosity of INFOCUS, the photography support group of Phoenix Art Museum.

PHOENIX ART MUSEUM
Norton Photography Gallery
www.phxart.org