This week: Living legend, innovator, visionary, Carolee Schneemann.
Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, â€œLooking at Men, Then and Nowâ€ [LINK:Â http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition,Â Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently publishedÂ Millennium Film Journal #54: “Focus on Carolee Schneemann.”Â Art Practicalâ€™sÂ Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work.
Carolee Schneemann [LINK:Â http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including inÂ Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK:Â http://www.henryart.org/exhibitions]
An abridged transcript of this interview appears inÂ Art Practical’sÂ “Year in Conversation” issue, which you can see here:Â Â http://www.artpractical.com
The latest in our “From the Archives” spotlight is dated February 11, 2007: Richard Holland, Duncan MacKenzie and Meg Onli talk to Rodney Graham on the occasion of his solo exhibition at Donald Young Gallery. And hey, coincidentally, Rodney Graham has a new show up at Donald YoungÂ right now, through November 23rd, 2011!
Rodney Graham, on repeatedly recasting himself in his work:
â€œIt was just easier to do that, and it gave me a certain limit, placing limits on what I would do. It was a way of maybe trying to distinguish my work from other Vancouver artists who are really masterful at that like Jeff Wall or Stan Douglasâ€¦I thought the performance thing was maybe more my thing. It was a way of doing something that was my own.â€Â — Rodney Graham, interviewed by Bad at Sports.
This week: More Open Engagement “SoPra”! This week we talk to Pablo Helguera!
Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, and performance. Helgueraâ€™s work focuses in a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances and written fiction.
His work as an educator intersected his interest as an artist, making his work often reflects on issues of interpretation, dialogue, and the role of contemporary culture in a global reality. This intersection is best exemplified in his project, â€œThe School of Panamerican Unrestâ€, a nomadic think-tank that physically crossed the continent by car from Anchorage, Alaska to Tierra del Fuego, making 40 stops in between. Covering almost 20,000 miles, it is considered one of the most extensive public art projects on record.
Pablo Helguera performed individually at various museums and biennials internationally. In 2008 he was awarded the John Simon Guggenheim Fellowship and also was the recipient of a 2005 Creative Capital Grant. Helguera worked for fifteen years in a variety of contemporary art museums. Since 2007, he is Director of Adult and Academic programs at the Museum of Modern Art, New York.
He is the author, amongst several other books, of The Pablo Helguera Manual of Contemporary Art Style (2005), a social etiquette manual for the art world; The Boy Inside the Letter (2008) Theatrum Anatomicum ( and other performance lectures) (2008), the play The Juvenal Players (2009) and What in the World (2010).
GUEST POST BY HEIDI NORTON
As a photography student of the mid/late 90’s, Barbara Kasten was ofÂ great significance to me. I lost track of her during the first decadeÂ of the millennium, as the contemporaries of the Becher’s schoolÂ (Gursky, Ruff, Struth) dominated the art market with their dry,Â representational Deadpan Photography. Now, as an educator 11 yearsÂ later, I relish in Kasten’s renaissance. Abstraction is transcendentalÂ to me, but above all, I see Kasten as a pioneer ofÂ contemporary relevance.
Most people know her as photographer, but Barbara Kasten is anÂ artist. Photography is a material to her, the camera’s use- veryÂ calculated and intentional. She treats it with equal significance toÂ the rest of her materials–mesh, plexi, screen, mirror, glass, and light.Â Her influences are vast and span many decades: Irwin’s light andÂ space movement of the late 60’s; Judd’s studies and use of modernÂ industrial material; Post-Minimalism, and its tendencies towardÂ performance; Process art; Site-Specific art; and Abstraction of theÂ 40’s (Moholy Nagy), 90’s, and present. She is presently celebratingÂ her first solo show in Chicago at Tony Wight gallery, Ineluctable, which runs through October 22nd.
Barbara and I sit down and talk art–mostly me picking her mind. But flattered I am, as she is inquisitive about my work as well. See below!
H: Material became important to you very early on in your career. YouÂ were trained as a sculpture and a fibers artist. As a fibersÂ instructor, you used fiberglass screen as a teaching tool to model 3dÂ forms. Talk about your transition from fiberglass as a 3-D sculptingÂ tool to its appearance in your first Cyanotype, Untitled 13, 1974.Â WhenÂ and how was the camera introduced?
My first photographic works were photograms. When I discovered the industrial screen as a way to create 3D weaving maquettes, I also tried creating a 2D illusionistic rendition in the form of a photogram. That was in 1974, and I still use the same material today in the Studio Constructs.Â In the process of arranging the photograms. I liked the way that shadows were captured in negative shapes.Â I was also making life size arrangements using packing boxes and other geometric forms I built for that purpose.Â At that time, Polaroid was a new color photographic medium; so when I was offered some 8×10 Polaroid film, I learned how to use my first camera, an 8×10 view camera.
H: Speaking of the camera, let’s talk about the relationshipÂ between the image created, the materials (light, plexi, screen), andÂ the exhibited object (the print or projection). When we spoke, youÂ talked about the “several stages of development before the image isÂ where it should be”. Please explain this. Can you talk about theÂ integral relationship between the construction/sculpture and how it isÂ mediated through the camera? A minimalist like Robert Morris might haveÂ said that there is a “dematerialization of the object via the processÂ of it being photographed.” Do you see the camera and photographicÂ print as more, less, or equal in relevance to the process and materials?
B: Process has been the core of all of my work- whether it was the sculptural fiber pieces I did in Poland while on a Fulbright, the photograms in the early 70â€²s or the most recent Studio Constructs and video work.Â The shadow- and the light that causes it- has been my conceptual grounding.Â I am not interested in the object itself but how it serves as the means of recording light and shadow.Â The photograph becomes the object when the light is merged with form and shadow on a 2d surface. Itâ€™s really the light that completes the action, whether it is in direct contact with light sensitive material or passing thru the lens of a camera.Â The Studio Constructs go through many configurations before I arrive at the final image….The ‘sculpture’ stays set up in the studio giving me time to live with it and the images I make of it.Â I can expose many pieces of film before I’m happy with it.Â Why not digital…many reasons but the main one is that I like a slower process so I can think about the work as I make it.
B: How about you, Heidi? You currently have a show up at Northeastern University, Not to Touch the Earth (Reception this Friday, Oct. 21st, Â from 6-9). In some of your work, the photograph seems to be a document of your process and in other work, the plants or objects are integral to the piece by their physical inclusion.Â Talk about these different approaches and how you decide when to create a sculptural piece versus a ‘recording of the piece’ -if you see it that way.Â If not, how do you think about the role of the plants?Â Does the photograph play a different role in each of these approaches?Â Tell me about the importance of the object in your work.
H: All of this work began from the image Whitescape, 2010, where I painted all the objects, including the plants, white by hand. Several weeks later, I was at my studio and noticed that the Dieffenbachia plant I used had begun to grow out of the paint. The painted leaves died and fell off and new life began to sprout from the center. I was intrigued by this–a very pleasant surprise– as painting the plants had left me feeling guilty.Â The material of the paint was killing, yet at the same time preserving and stimulating growth. I included that same Dieffenbachia plant in the piece Deconstructed Rebirth– my third still life construction made for the camera. In that piece you see the new sprout and the decayed white leaves hanging from the plant. Almost a year later in My Dieffenbachia Plant with Tarp (Protection), the same plant reappears as a whole new plant. Only through the use of the camera as a recording mechanism is one able to see the inclusion of this narrative. With the cameraâ€™s ability to freeze time we can see the plants in varying states through life to disparity to death. Evolution of a Plant is a more literal example of this idea.Â I think of the â€œNew Age Still Lifeâ€ series as sculptural construction. Like yours, these have several stages of development before they become images or objects on the wall. Higherself and Mango are shot in a studio with a plexi-glass shelving unit that was created to compress the space further within the 2D plane.Â In the sculptural objects- glass and wax pieces- the plants are pressed to glass or embedded in wax. These materials are also meant to preserve, freeze, and maybe illicit death. The pieces are meant to activate one another; whereas the photographs are fixed- frozen in one state, in the way that Barthes talk about the â€œDeath of an Imageâ€. HeÂ sees deathÂ implicit in each photograph. He is struck by how the photograph moves you back through time, how you always have the past with you- the photograph as a kind of resurrection.Â The sculptures will transition in front of your eyes over a span of time based on the nature of the plant. Plants in various states between life and death, wax melting, the color of the plants from green to brown- they are in constant flux.
H: In the Alex Klein essay that accompanied the group show at Shane Campbell in 2010, “Terminus Ante Quem” she compares your process to that of process and earthworks artist, Robert Smithson. She writes, “he famously challenged what he saw as the misperception that art objects function as a kind of culmination or terminus as quem of artistic achievement.” Basically stating that the object supersedes the process, or the process is a building up to the object. People see your works, the final product, a very polished and refined photograph or projection, different than the “documentation” of the 70s. How has being grouped into a movement of photographers whose work is notable for its formal beauty and technical execution changed how the work is interpreted?
B: I happen to like beautiful objects, but beauty alone isn’t enough.Â Some investigations of beauty can bring out the underpinnings of a structure or idea or process that doesn’t possess that same kind of beauty as the surface.Â However, I think that my process is important to the understanding of the work which ultimately becomes an objectâ€¦. a beautiful object. The traditional photographic process is different than mine.Â I carry on a continual dialogue with the subject, changing each step along the way, much like a painter might do. The process is intense and intimate and can include aspects of performance, documentation and sculpture.
H: You mentioned you are reading Donald Judd’s essay on the “specificity of objects” and the discussion of the “under developed rectangle”. Please explain it’s relevance to your work. We talked about using light on reflective surface to break or reconstruct space within your work and that reduction is the abstraction. Talk more about this.
B: I was in a show at Ballroom Marfa this year and visiting the Chinati Foundation re-sparked my interest in Judd.Â Just to witness his immersion into the simple architecture of a small western town and how it became an extension of his vision and art. The barracks, containing row after row of polished, reflective boxes illuminated by the Texas sun, was an incredible experience of landscape and geometry merging through the medium of the sun.Â Judd is straightforward and yet incredibly complex.Â Its a position that I hope to develop more in my work and thinking.
H: Architecture within the constructed space and the architecture ofÂ the gallery seem integral to the work and installation. Please discussÂ the distinction between phenomenological space and imagined space, andÂ how unambiguous, or understandable for that matter, the differenceÂ isÂ between the two experiences.
B: An example of how I like to incorporate architecture is in the installation of â€˜Ineluctableâ€™.Â The three 11×14 silver gelatin prints are positioned so as to include the corner when the viewer looks towards the work.Â Upon close observation, one becomes aware that there is a corner in each of the pieces that reinforces and establishes the importance of the architectural element in situ.Â The video â€˜Cornerâ€™ also plays with the identity of generic structural architecture and light projection that alters its dimensionality.
B: What about the space and environments you create in the galleryâ€™s space? Do you think of your work as environmental installations?Â For instance the inclusion of architectural pedestals as in the piece, Michael 2011, shown in Jason Foumbergâ€™s September 2011 Frieze review, or the collaborative piece with Karsten Lund, presenting shelves of books that were focused on plant life in â€œNot to See the Sunâ€ exhibit at Ebersmoore last April?
H: I am interested in creating an atmosphere or environment in all of my spaces- the gallery, the studio, my apartment. When making work, I like to assume the personality of an avid plant collector, a botanist- my studio is a hybrid of herbarium and art studio.Â I speak mantras to my plants. There is dirt, roots, wax, film and photographs everywhere. I am a creator and nurturer of things and sometimes these things have difficulty co-existing in the same spaceâ€”precious archival pigment prints shot with 4×5 transparency film made on expensive baryta inkjet paper do not mingle well with dirt, wax and resin. But I like this mix- taking something precious like a photographic print or plant and submerging it into hot wax–pushing the integrity of the material outside of itâ€™s natural limits.Â Michael, the piece you mentioned, is maybe a good example of when these two polarities collideâ€”to me, itâ€™s both photographic and sculptural. When I created the display stands for the piece, I intended for them to not look like pedestals that reference high art. I wanted them to assume some anonymous person’s makeshift constructions. “After the Fires of a Little Sun”, the installation of books and mirror, are to reference a mantle and book collection.Â Not necessarily my own collection (though all the books are/have been used for personal research and relate in some abstract way to my work), but maybe someone whose interests vary from botany, to color theory, to a 1970s back-to-the-land manual. The project grafts new imagery and typewritten text directly onto the pages of existing books. The artist and writer’s responses become merged with the research materials, producing an unconventional artist’s monograph/zine, fueled by the symbiotic combination of three elements: the original texts, the writer’s typewritten thoughts, and the artist’s wide-ranging visuals. The effect of leafing through this material (now collected in one volume) is a bit like stumbling upon some anonymous person’s avid research materials — perhaps a mad botanist with a flair for detours into the histories of art and counter-culture.
Not to Touch the EarthÂ is on view until October 28th at Northeastern Illinois.Â Opening Reception, October 2nd, 6-9pm.
Heidi Norton received her MFA from the School of the Art InstituteÂ of Chicago in 2002. She lives and works in Chicago. Norton has presented solo exhibitions in Chicago and San Francisco. Group exhibitions include How Do I Look at Monique Meloche Gallery, The World as Text at the Center for Book and Paper Arts, Snapshot at Contemporary Art Museum in Baltimore, and the Knitting Factory in New York. Norton was published in My Green City (Gestalten) in 2011 and her spring show at Not to See the Sun, EbersMoore was reviewed in Frieze, September 2011. She currently is collaborating with writer Claudine Ise in a seasonal column for Bad At Sports called Mantras for Plants. Norton is represented by EBERSMOORE gallery in Chicago. She is faculty in the photography department at the School of the Art Institute of Chicago.
Artist Heidi Norton and I share an abiding interest in all things plants. During several conversations we had while I was profiling her for Art Ltd., we often talked about the relationship between art and gardening. Heidi incorporates living plant matter directly into her sculptures and has used various types of house plants in her New Age Still Life photographs, along with the more recent series of images shown in her show Not To See the Sun at ebersmoore last month. Heidi and I have continued to talk about the relationship of art, plants, and gardening, and as the next iteration of what has become an ongoing exchange, we’ve decided to conduct a series of interviews with other artists to further explore those connections. Voila: Mantras for Plants, a new, irregularly appearing series of posts.
First up, Heidi talks with Chicago photographer John Opera about his practice and his use of the Anthotype printing process. Opera recently exhibited his photographs at Andrew Rafacz in Chicago and at the Contemporary Art Museum in St. Louis, MO. He’ll be exhibiting his work in a group show titled “To Tell The Truth” at Monya Rowe Gallery in New York from June 17th-July 29, as well as in another group show at Statler Waldorf Gallery in Los Angeles that opens June 17th.
Heidi Norton: What is an Anthotype? Can you explain the process? How did you come to find it and how do you feel it fits into your practice?
John Opera: The Anthotype is a printing process that was invented by Sir John Herschel around 1832, five years after the first known photograph. It represents a moment right at the beginning of photography as a medium.Â The discovery of the process was very much a part of the initial experiments that led up to photography, as it was eventually known in the 19th century, both in technical terms and in metaphoric terms as well.
In addition to his photographic research, Herschel was also an accomplished botanist and researched the chemical properties of light.Â His experiments often crossed disciplines.Â Thatâ€™s how the Anthotype came aboutâ€”it was an attempt to connect fixing a photographic image to photosynthesis.Â Herschel discovered that he could make a rudimentary print emulsion using pigments extracted from plant material.Â He made his prints by treating paper with the plant-based emulsion and pressing a negative tightly against the paper under a sheet of glass.Â The prints are then exposed during the height of summer when the sun is very intense.Â The printing process can require anywhere from a week to three weeks in direct sunlight.
For my Anthotypes, I used beets, blueberries, pokeberries, chokeberries and several varieties of lilies.Â Itâ€™s pre-photography. I was really interested in that notion. There is a strange connectivity that the process has to the natural world.Â It feels alchemical to me.Â I collected some of the plants at sites where I made landscape photos in the past, specifically the pokeberries, so I guess you could say that some of the images have a connection to my past work, or at least they are part of a continuum.
The images in the prints are of drawings that I made in a glass bottom tray device that I designed which allows me to expose directly onto large format film without a camera.Â There was no lens used in making the images.Â They are essentially contact prints of ink in water.Â For me, the prints point toward the fundamental principles of image formation in photography.Â They are also still-images about liquid and its connection to the medium.
HN: One of things that fascinate me is the relevance of light in this work. All photography is reliant on light, but the way light is utilized in these pieces is extreme. The “ink drawings” must be created in complete darkness. I imagine you sitting in a dark closet, dropping ink into a tray of liquid, flashing light to expose the latent image. The second process is actually making the contact print. Like you mentioned, at times the exposures can be up to three weeks in direct sun. Can you comment on this duality?
JO: Honestly, Iâ€™ve never consciously thought about that connection, but it is a really interesting one for sure.Â A duality in the process like that is probably a good thing.Â The pictures are about a balance in a lot of respects I guessâ€”formally, conceptually.Â The negatives are made in a traditional darkroom setting, while the printing process takes place under very different circumstances.Â It can take up to 120 hours in direct sunlight to break the emulsion down enough to make a photograph. The image of the drawing is captured on film in less than a second.Â I see what you mean by â€œextremes.â€
During the printing process, I have to pay attention to the weather and monitor the prints daily. They can only be made during the summer months when the sun is a its highest point in the sky.Â I suppose there is an interesting parallel between how the prints come into the world and witnessing plants in a garden do the same.Â Iâ€™m reminded of Jeff Wallâ€™s image Poppies in a Garden, which is in the Art Instituteâ€™s collection.Â For me, that image is about the potential universe contained within the poppy.Â Itâ€™s also an image that draws connection to the latency you are talking about in photography.Â There is a delay between the time a photograph is made and when you see the negative or print. This is what happens to the gardener in the garden as well.Â I suppose my Anthotypes are somewhere around there in that they are about something provisional.Â I like to think that their point is also that they break from the observed world, like a hallucination.
HN: Speaking of “hallucination.”Â This break from the “observed” world, we can call a “secondary” experience or even a transcendence from the lived experience. Maholy Nagy uses of abstraction of light coupled with technology, exemplifies the idealistic and utopian thinking of a specific era. He coined the term â€œthe New Visionâ€ for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. Is this a relevant conversation today?
JO: I think that every image is a secondary experience to an extent.Â I feel like photography has reached such a point of self-consciousness that we can agree that any kind of photograph, whether itâ€™s a documentary image or a photogram, occupies a secondary, or abstract position.
At the same time though, I think what youâ€™re getting at is a transcendence of observed experience.Â There is only so much that a lens-based image can describe, right?Â I guess that itâ€™s the reason I have periodically revisited abstraction over the past 5 years or so.Â Despite their straightforward manner, I have always thought of my landscape pictures as being about a topography of interiority.Â I couldnâ€™t quite get there though.Â I think I have always used abstraction to express what I couldnâ€™t do with a straight photograph.
HN: The colors and images of the anthotypes have a “West Coast”/LA appeal to me. Perhaps it’s because I know they were made in the summer and we hung out a lot during the time of their creation so in some ways they resonant a certain level of nostalgia. But there is a history of west coast makers that use “west coast” light to influence their practices and works. I definitely make different types of work in the summer–perhaps due to the changes in color palette, a different energy, geographic location, longer days… Besides the fact that the sun is the strongest in the summer, I want to know: Does the sun and warmth solicit certain types of making practices or “types” of art for you? Is there such thing as summer art? If these were made in the winter, would they look aesthetically different?
JO: Iâ€™m not sure if there is such a thing as â€œsummer art.” I thought about the Anthotypes all winter long!Â Although, making the work has definitely made me more aware of the changing of the seasons and of the Sunâ€™s position and path across the sky.Â I feel like the process of producing the Anthotypes has really been a process of aligning myself with the seasonal cycle, probably a lot like a gardener or farmer would have to do.
HN: So I will ask you the same question I asked Barbara Kasten because it is relevant with your work (and I’d like to compare your answers). I feel we are experiencing a similar scientific/technological revolution in relation to how we capture and perceive light and color. How do you feel digital manipulation has changed the production, consumption and criticism of abstract photography? Do you feel that the abstractions inherent in the medium, particularly evident in your work, are enhanced or obscured by the further abstraction embodied in the act of digital capture/rendering and/or manipulation? Do you feel itâ€™s important to explain this to people or ensure they know the works are not “manipulated”?
JO: Things are definitely changing, but I wonâ€™t say if itâ€™s good or bad.Â For me itâ€™s just happening.Â Digital is definitely erasing certain glitches and characteristics of analog photography, but itâ€™s also creating its own set of peculiarities too.Â Digital is actually very close to surpassing film in most respects.Â What will eventually remain is the nostalgia for certain arbitrary propertiesâ€”film grain, solarization, fogging, etc.
Actually, itâ€™s not really important to me that people know how the images were fixed to the prints, although that is usually the first question people ask me.Â So how are these made? I could have captured the images on a digital deviceâ€”actually that would have been a lot easier.Â There would have been fewer steps.Â The important thing is that they recorded fleeting compositionsâ€”whether that was achieved digitally or traditionally is not important. The fact is that I had to scan the film in order to produce larger printing negatives, so there actually was a digital step to this process.Â See, now weâ€™re getting too hung up on process.
Iâ€™m not sure how abstraction is affected by the digital shift.Â Abstraction in photography is like abstraction in paintingâ€”its meaning shifts according to contextâ€”always.Â The way I use abstraction is different than how it functions in Barbaraâ€™s work and vice versa.
Heidi Norton received her MFA from the School of the Art Institute of Chicago in 2002. Her work has been exhibited all over Chicago in venues such as Monique Meloche Gallery, Dominican University, Northern Illinois University Gallery, and Andrew Rafacz Gallery. Nationally and internationally, Norton’s has been exhibited at the Contemporary Art Museum in Baltimore, the Knitting Factory in New York, as well as in Los Angeles, London, and Valenica, Spain. Norton was published in My Green City by Gestalten in 2011. This past year she had solo shows in San Francisco at Hungry Man Gallery and ebersmoore in Chicago. Her work will be included in the group show The World as Text at Columbia College Chicago, opening June 16th.