Water-Zimmerli Art Museum

                The Zimmerli Art Museum at Rutgers University opened the fall semester with its first show simply entitled, Water. Water sought to explore the representation of water in a variety of regards. A large span of mediums ranging from video to installation and everything in between attempted to address the overarching theme of water. The works within themselves, varied in subject and theme, but all somehow loosely tied into the show’s objective of exhibiting water in the arts. There was a certainly a plethora of work within the exhibit, and arguably there was too much work contained with the constrained museum space. A certain sense of suffocation could be felt when viewing room after room of works which were but a foot apart from each other. In one way, the close proximity of all the works allowed them to meld into one congealed thematic piece regarding water. However, more often than not, the overwhelming amount of work led to certain works overpowering others. Ross Cisneros Ice and Ark was one piece in particular which really was allowed to breathe and stand alone as an individual work. 

The installation was also wisely placed within the immediate view of spectators when initially entering the show’s space. A certain feeling of weight and mass within the numerous bottles nestled within the net attracted the average onlooker’s attention and directly entrenched them within the theme of water. Also, the placement of a more easily readable and literal work as a show’s central piece is a rather intelligent decision. For those who are not deeply entrenched in the arts and are simply looking for a way to enjoy art, it would be inefficacious for there to be an unnecessary complex and abstract work as a show’s introductory piece. Seeing as the Zimmerli Art Museum is actively looking to introduce art to the Rutgers community, it would remain best for them to continue to find a curatorial balance of the high arts against the more verbose and literal. While the show is successful in this particular curatorial aspect, a criticism must be offered in regards to the show’s theme.

                Water is a tremendously varied aspect of nature which has many different facets of its whole. The show Water itself, failed to display all of the features and subjects related to the natural force of water. Rather, the show focused on the serene and peaceful aspects of water opposed to the ferocious and destructive. The mundane blue walls set the tone and the continued similarity in subject between the works was prevalent. Regardless, Water was with its failures along with other pertinent successes and still remains worth viewing.

Welcome Back Show @Mason Gross Galleries

The Welcome Back show at Mason Gross Galleries just recently concluded and had showcased an array of works from the visual arts faculty. A lack of overall theme or subject led to an interesting variety of works being displayed which by happenstance, created a theme within itself. The individuality of the works displayed further aided in the existence of an intriguing juxtaposition between medium and subject. While various works were organized in regards to medium, there still existed a certain clash between them.

Stephen Westfall’s Casmadin seems to speak more to a conversation with art history. The lines and geometric minimalism of the work speaks of the post war Bauhaus school of design. A certain concern with a strict concentration on painting within itself also seems to be prevalent. This also appears to be in contrast with another work placed further down the same wall within the gallery space. Chris Guerra’s print Jealousy serves as commentary on art through its vague abstraction but also serves a commentary on facets of the human experience. The manner in which certain color fields within the print interact with one another refers to some sort of strife and struggle; the intangible aspect of humanity exists within the work in a certain extent. Given the work is non literal in its visual narrative, the interpretation may be inaccurate. However, the difference between the more definitive work of Westfall’s versus the more vague and varied work of Guerra’s leads to a conversation between the works as a whole. Another work within the direct vicinity of the two aforementioned works was Eileen Behnke’s …on the grass which served a unique purpose within its placement in the gallery space. On its own the painting can be interpreted within the context of itself, but due to its existence amongst other varied works, it takes on new meaning. The scene of five women sprawled on the grass in a natural, literal depiction is grossly different from other paintings surrounding it. Behnke’s work on its own brings up thoughts of the use of pictorial space, perspective, and composition within painting, although next to other works its comments on notions of the literal versus the abstract.

Caetlynn Booth’s Checkpoint seems to strife the line between the literal and abstract and benefits from its placement near Guerra’s Jealousy. The painting contains both the natural, literal depiction of a night like atmosphere while displaying the more abstract aspects which may be linked to the sensory experience. A conversation between works continues to exist throughout the show, but remains most verbose and present within 2d work. 2d contemporary work is greatly varied and shows the widest diversity in regards to subject, treatment, and approach. While this contrast can be distracting within the gallery space, the Welcome Back Show was organized in such a manner in which an engaging relationship between the works flourished. The potential problem of clash with 2d works does not seem to be as prevalent across other mediums with the exception with installation art which truly requires I space to breath in most cases.

Video art in particular seems to have this overarching sense of the attempt to create narrative in an indirect or unobvious manner. Toby MacLennan’s Bite Into a New Day cut from elephants roaming to obese nude women rolling upon one another; interesting and altogether more so contemplative. The works as a whole did seem to communicate in an unobtrusive manner and were organized in what appeared to be a successful manner. The two individual exhibitions within the show also found their own way to exist individually as well as cohesively in the show.

Studio Interview with Melissa Torro

Melissa Torro is an aspiring young painter studying at the Mason Gross School of the Arts in New Brunswick. In her senior year of her studies, Melissa is preparing for her Thesis exhibition in the spring. I recently sat down with Melissa in her studio and chatted with her about her body of work and future direction.

Paintings are generally rectangular and have very little dimensionality. The series behind you are all boxes; what the inspiration behind these unorthodox canvases?

I like the idea of something interacting within the gallery space, the idea of the painting getting in the way of the viewer. It creates a unique viewing experience where you can’t photograph the painting and get the same view, you have to be there to interact with the work.

So do you have some sort of fascination with boxes?

Not particularly. Its just a happenstance of the presence of material. Its more masculine, its holds a greater presence.

Is it truly a painting or a sculpture if it consumes 3 dimensions?

That’s part of the point, because I want to be nontraditional and controversial. The work is unorthodox, but still contains the main elements of painting. Strechers. Canvas. Paint. They’re just organized in a different manner, it’s still a painting.

Since you’re working in such a different manner, what’s your mental approach before creating a piece? How did you mentally arrive at box?

Truthfully, it all has to do with inspiration. When I visit a gallery or museum I try to spend time with works which confuse me most. I try to reach a level of understanding and solve the issue of communication. Ultimately, I’m trying to learn from the experience as a whole.

I think it a good thing that you’re try to work at your limitations and lack of understanding. Since you draw inspiration from other work, can you tell me who is inspiring you most right now?

Robert Ryman, Rauschenberg, and Robert Smithson. Knoble as well.

What attracts you to them?

The aspect of interactive work, Knoble’s paintings manage to interact directly with the viewer with almost vibrating colors. It’s hard to explain, you have to see it in person, and that’s the point. Ryman’s white paintings as well. They’re all white, but have so much variation. The physicality of Rauschenberg’s work also entices me.

I see that physicality throughout your work, and the boxes physical presence is just a further extension of your interests. Do you see yourself exploring other geometric shapes?

I’m not quite sure, but I wouldn’t be surprised if it came to that but not quite yet.

This is almost an impossible question, but do you think you can envision your future work?

I can’t really think beyond the present, its kinda overwhelming. I think I may incorporate a sonic aspect in the future, sound is interesting.

So what’s the impetus to move across different mediums?

Work builds from one to another, sometimes it materiality, other times its simply creative impulse,its all cumulative.

On that note, why paint?

My mind works in terms of canvas, I don’t know why I still paint.

It’s a question of material then?

 Yes, what feels and looks right.

Are you strictly going to deal with canvas, is this a permanent or transient thing?

I wouldn’t say permanent, but for the immediate future. It’s an amazing object.

That’s interesting, I’ve lost most interest in canvas recently. What would be the ideal, perfect treatment for a canvas? What should be the ultimate destiny of a canvas?

The transition from pliable fabric to rigid object. But without losing the identity of the canvas. Its destiny is to be stretched.

So the canvas is interesting and paint is a mystery. So is paint or canvas the vehicle?

The canvas.

Could you possibly justify the canvas as a complete piece?

No, it’s a parasite, it needs something else to survive. Maybe it’s I’m a performance artist who enjoys the building of the painting more so than the actual work. The building of the painting is a fascinating experience.

I agree with that notion, I’m often more interested with the work than the work if that makes any sense. That’s an interesting concept to leave me with. I’m interested to see which direction the rest of work goes this year.