LIKENESS Video Series: Jonn Herschend

Today's installment in the LIKENESS Video Series (produced with love by MF Danny) comes from Jonn Herschend, an interdisciplinary artist, curator and experimental publisher preoccupied with how emotional confusion, absurdity and veracity play out in the realm of the everyday. He lives and works in San Francisco, and is the co-founder and co-editor, along with Will Rogan, of the experimental publication THE THING. Jonn was raised in a mid-western theme park in the Ozarks that his grandfather started. Later it was run by his father and uncle. Both of his parents were street performers and when Jonn was born, a sign was placed in his parents’ front yard that read, “Home of Jonn Herschend, future train robber.” According to Jonn that sign is still around.



JONN HERSCHEND
Self Portrait as a PowerPoint Proposal for an Amusement Park Ride (2009)
projector, DVD player, self-running PowerPoint presentation, projection screen, leak in ceiling, buckets, plastic sheets, janitor closet, custodial items, 16 mm. projector with looper, portable projection screen
LIKENESS Exhibition - Through March 21, 2010

Herschend’s many-sided conceptual, Self Portrait as a PowerPoint Proposal for an Amusement Park Ride, is characterized by a strong sense of narrative, not strictly limited to straightforward vignettes or mimetic representation. In his complex self-portrait one finds a narrative that resembles fantasy, role-playing, fiction and a touch of reality. Jonn’s choice of subjects and materials contribute to the kind of story he opts to tell and show his audience. Jonn says about this piece:

The entire installation is a self-portrait...not one part. It’s both sides of the entertainment experience... the fantasy of the gallery and the hidden reality. It goes from the conceptual notion of a museum installation, to a disruption with the physical space (the leak in the ceiling), to a hidden and nostalgic projection of a true moment of complete innocence.

This is the first time I’ve ever really worked on a piece that referenced my affiliation with the amusement park of my past. For me, museums and galleries are very similar to amusement parks. They are where we come to experience a diversion from the real world. And we expect things to be a certain way.

From a formal aspect, the PowerPoint projection (an application used to supposedly make confusing issues clear) becomes bogged down and sidetracked with the introduction of an illicit affair and car wreck.

The black and white slides are spilling over with emotion, just as the physical building is failing and starting to leak. But in the Janitor’s closet, a place that is not formally on the map of a museum or gallery, the 16 mm projection is a translation of a moment (a true moment) where I recorded my daughter experiencing an amusement park ride with full and complete innocent joy (at the amusement park where I grew up). I wanted to transfer and translate the moment to a medium associated with memory and nostalgia.”

POSTED BY JEFFREY Read All Posts by Jeffrey

LIKENESS Video Series: Paul DeMarinis

Today's installment in the LIKENESS Video Series (produced with love by MF Danny) comes from Paul DeMarinis, an artist who has been working in electronic media since 1971. Much of his work involves speech processed and synthesized by computers. In his LIKENESS piece, Dust, Paul utilizes a diverse selection of materials to create a unique and moving experience.



PAUL DeMARINIS
Dust, 2009 (4th Floor)
computer, video projector, photoluminescent powder, bass speaker
LIKENESS Exhibition - Through March 21, 2010

Paul DeMarinis has been working in the arts for several decades and subsequently has produced numerous performance works, sound and computer installations, as well as interactive electronic inventions. DeMarinis’s subtle and magical works display an intersection of tradition and progress, often motivated to cover an expanse of subjects and themes. Today we hear the term multidisciplinary! It is indeed an accurate one to describe Paul DeMarinis. Although the majority of his productions fall within the realm of art, he is also a historian, an experimenter, a chemist, a physicist, an engineer, a programmer, an inventor, a computer scientist and an archaeologist. His cross-disciplinary approach affords him an aptitude to condense the many facets of technology into his art constructions that aspire to be concurrently comprehensible and philosophical.

In his new work, Dust, DeMarinis explores facial similarities, pairs of faces, and the abstraction of images into the dust. DeMarinis presents a fragment of this collection of likeness-pairs, scanned sequentially into the light-memory of phosphorescent powder. After a few minutes of exposure to the projected image, the powder retains a faint green image of the two faces on its surface, something akin to the ‘latent image’ of photographic film or the veil of memory. Unlike photographic film, though, the image starts to distort. Propelled by low frequency sound vibrations, the powder starts to flow and dance, first distorting the faces and erasing their likeness, then distorting them into patterns of abstract light in motion, with form and beauty all its own. (Excerpt from Elaine A. King's gallery guide for LIKENESS)

POSTED BY JEFFREY Read All Posts by Jeffrey

LIKENESS Video Series: Jim Campbell

Today's installment in the LIKENESS Video Series (produced with love by MF Danny) comes from artist Jim Campbell. Jim has two pieces showing in the LIKENESS exhibition, one of which you see below (Liz Walking: A Distillation Portrait) and the other will be posted here on the MF blog later in the week. Both make use of custom electronics and LED lighting. In Liz Walking, Jim has transformed an entire gallery into a lo-fi projection screen. To shine a bit more light on Jim's creative process, I've included some text from curator Elaine A. King's gallery guide below the embedded video.



JIM CAMPBELL
Liz Walking: A Distillation Portrait, 2009 (4th Floor)
custom electronics, LEDs
LIKENESS Exhibition - Through March 21, 2010

Liz Walking: A Distillation Portrait develops out of Jim Campbell's earlier Motion and Rest series that depicts six studies of people with disabilities walking. The idea underlying this series was that the low-resolution process inherently eliminates everything about the walking figures except for their gait. According to Campbell, "the works (or medium) distill the movement of the figures eliminating all of the other information from the moving images (age, clothes, gender, hair style etc. cannot be determined from the representations)."

This work goes further, when at times it eliminates the entire image including the movement such that only the rhythm of the movement is left leaving an even simpler representation. The installation is set up so that at the front of the room is a low-resolution image of the figure, but concurrently the two side walls (on either side of the viewer as they are looking at the front wall) have the same moving image presented in a great deal, lower resolution to the point of being almost totally abstract. However since the sidewalls are taken in with peripheral vision (which is also inherently movement based and more unconscious based) the rhythm of the figure is felt from the viewer’s peripheral vision as it is seen on the front wall with the observer’s direct vision. A unique situation is presented since the viewer’s peripheral vision is actually observing the same thing that the straight-ahead vision is seeing. Lastly, as a type of facilitation process for the viewer to leave their analytical seeing process behind, this installation goes through a cycle where the higher resolution image on the front wall gradually fades to nothing (a flat field) leaving only the peripheral image rhythm to be felt for a few moments before the front image gradually fades up again—what remains is a movement portrait or signature. (Excerpt from Elaine A. King's gallery guide for LIKENESS)

POSTED BY JEFFREY Read All Posts by Jeffrey

LIKENESS Video Series: Tony Oursler

On Friday, October 9th, nearly 300 people packed into the galleries for the concurrent openings of LIKENESS, a group show guest-curated by Elaine A. King, and It's all about ME, Not You by Greer Lankton, which has been added to the museum's permanent collection. Big thanks to all who attended. I'm always amazed at the consistent outpouring of support at MF openings.

In anticipation of receiving and posting the official LIKENESS documentation images from our photographer, I'll be uploading short videos produced by Danny Bracken, multi-instrumentalist extraordinaire and MF Exhibitions Team member. First up in the series is Tony Oursler's Vampiric Battle.



On deck for tomorrow: Jim Campbell's Liz Walking (A Distillation Portrait)

POSTED BY JEFFREY Read All Posts by Jeffrey

Movin' and Shakin' at the MF

Whoever said the dog days of summer were supposed to be slow-paced and relaxing has obviously not spent much time around the MF! Things are moving along at break-neck speed here at the museum -- and that's just the way we like it. In six short weeks from now Pittsburgh will have hosted a monumental event for a city of our size (the G20 Economic Summit -- more on the MF's role in this below) and the Mattress Factory will have opened two new exhibitions. This pace is not for the weak of heart, so fasten your seat belt and hold on.

G20 Pittsburgh Summit
On September 24 + 25, the G20 Economic Summit will be held here in Pittsburgh. This is a pretty big deal for a city of our size. During these two days in September, millions of people around the world will be watching the proceedings of the summit against the backdrop of our city. Thousands of people (from credentialed media to peaceful demonstrators) will descend upon Pittsburgh in late September and we thought we'd give them a street-level view of the city produced by people on the ground.

So last week we (in collaboration with our good friends at deepLocal) launched http://myG20.org, a real-time crowd-curated guide to Pittsburgh. Anyone can participate through several different social media platforms. And if you're not a "My-Twitt-Flick-Face-Tuber," have no fear. We've created a simple web-form that will automatically post your message to the content stream.

In the first 90 minutes after we released the link to the MF Twitter Posse, more than 100 people posted to the site. Pretty cool. So cool, in fact, the Pittsburgh Post-Gazette took notice. So check out the site, use it, tell your friends and we'll see how it pans out leading up to and during the G20 in September.

Greer Lankton: It's all about ME, Not You
Last week we also announced the addition of Greer Lankton’s It’s all about ME, Not You (1996) to the museum's permanent collection. First shown as part of a group exhibition at the museum in 1996, the large-scale installation was recently given to the Mattress Factory by the late artist’s family.

Greer Lankton devoted most of her artistic life to creating highly expressive mannequin-like figures with full make-up, wigs, jewelry, and clothing. Her figures populated her tiny studio/apartment in Chicago surrounded by a decorated tableau of stenciled walls, autobiographical drawings, shrines to the likes of Candy darling and Patty Smith, children’s toys, hundreds of fashion magazines, and books on Egon Schiele and other favorite artists. Modeled after her apartment, It's all about ME, Not You opens with a public reception on October 9, 2009.

LIKENESS (October 9,2009 - March 21, 2010)
Portraits are everywhere. They are in our wallets; on our computers, cell phones and desktops; on the walls of corporate offices, banks and schools. But what precisely is a portrait or image of likeness? How do artists’ methods and materials evolve as technology progresses with quickly? And in this age of user-generated content, who exactly is the artist?

LIKENESS is a group exhibition that aims to examine human depiction during a post-Warholian era in which new technology has played an influential role. It includes the work of artists Jim Campbell, Paul DeMartinis, John Herschend, Nikki S. Lee, Joseph Manino, Greta Pratt and Tony Oursler. Elaine A. King, who is a freelance critic and curator as well as a professor at Carnegie Mellon University teaching Art History/Theory/Museum Studies, will curate the exhibition. LIKENESS opens with a public reception on October 9, 2009.

POSTED BY JEFFREY Read All Posts by Jeffrey