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Blog Archive
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2008
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April
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- Gay Outlaw Lecture
- Ernst Haeckel
- Blaschka Glass Flowers and Jellyfish
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- Critique Monday, April 21
- Final Exams Schedule
- the Aphrodite Project
- Silence, Mona Hatoum. 1994.Systematic Landscapes, ...
- Quick walk over to the SJICA today
- Annina Rust presentation, 3.30 Monday
- Art History Symposium, Saturday, April 12th
- Marin Headlands Open House April 20, 12.00
- Julia's Show!
- Changed Blog Settings
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April
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4 comments:
The way Gay Outlaw created her own sculptural projects was really phenomenal, spectacular, and magnificent. Those masterpiece sculptures that she mentioned are absolutely superb, amazing, marvelous, and excellent. This sculptural artwork is so well done. Her artwork is definitely great, terrific, fantastic, and wonderful. Gay had spent numerous hours working on the projects for "Camo Cube with Plug (Yellow)" (2006), "For Sale By Owner" (2007), and "Tear" (2007). For "Camo Cube with Plug (Yellow)", she drilled or cut the holes through the corroplast. Besides, Gay used paper and glue with the measurements of 16 x 16 x 16 inches and 12 x 8 x 8 inches. It was painted in yellow. In "For Sale By Owner", Gay made holes by piercing or drilling the corroplast through it. Glue and paper are used as well as the "Camo Cube with Plug". It's measured 72 x 73 x 20 inches. In "Tear", she designed it with glass, dyed foam, and closed cell foam. The measurement for this sculpture is 5 x 65 x 43 inches. Before this, she created a variety of sculptures made of pastry, such as a curved figure made of cake-like ingredients. For instance, Gay created sculptures since the 1990s prior to her well-known structure at the Yerba Buena Center for the Arts in San Francisco made out of large quantity of fruitcakes. She always does continuous things in exploring numerous permanent materials when building a rich studio practice and an idiosyncratic sculptural vocabulary. She earned SFMOMA's SECA Award in 1998 and did show her work in New York and on the West Coast, including Los Angeles. She currently lives and works in San Francisco and is represented by Gallery Paule Anglim. I'd be glad to hear more from Gay Outlaw when she does a variety of sculptural artwork from many different places, such as San Jose, San Francisco, San Diego, Oakland, Los Angeles, New York City, Chicago, Miami, Dallas, San Antonio, Seattle, Portland, Atlanta, Baltimore, Pittsburgh, Philadelphia, Boston, Phoenix, Santa Fe, Albuquerque, Salt Lake City, Denver, Boise, Des Moines, Baton Rouge, New Orleans, Oklahoma City, Birmingham, Nashville, Knoxville, Memphis, Washington, D.C., and many more places. Wow! How breathtaking and fascinating her masterpiece sculptures really are. Maybe, I'd like to try that someday. In addition, her actual name is Mary Gay Outlaw as mentioned from the guest lecture on Tuesday, April 22, 2008.
The outsider perspective that Gay Outlaw proposed during her talk at SJSU was a fascinating thesis on the nature of her work. Outsider art as it is unfortunately known is a phenomena with a particular politic. At the same time it rejects any academic influence and critical concern, it seems to reify the modernist/reductionist notions of specialization by declaring to be outside the specialization. Perhaps a worthy endeavor, perhaps romantic posture.
This is not to say that I am negatively critical of Outlaw's work. In fact I continue to find a amusement, humor, and playfulness that I continue to strive for in my own work. What is obvious is the importance of using of one's expertise outside the 'arts' to form new uses of material, strange, perverse and often fun or just funny references to life. Specifically the bollards made of genoise, white chocolate, raspberry filling, Buttress Cakes 1992, as a chief example of this fun attitude about how the world is built. The confusion of construction materials is one way to critique and dissolve that specialist attitude formerly addressed.
Geometrically precise confusion seems the propagate in the latter work. While maybe is not as farcical as a cake finial, 20-Layer Finial 1992, on the wall of the hallowed SFAI real estate, a mountain constructed of appliance hose and plaster, Black Hose Mountain 1998, has perhaps a more biting and learned critique of the nobility of being an artist.
Gay outlaw has a good sense of humor. She embraces her given name. I think its a bit maternal and feminine to make stuff out of baked goods. However it does give me some great ideas. I love edible art. Her other art is a but OC, detailed stuff I admire since I cannot be that obsessive over repetitions I do admire them.
Gay Outlaw is an interesting artist. She was charismatic and humorous in her presentation. I found her personal evolution into the arts interesting with her beginnings in photography and using her culinary training to begin her sculpture career. With food as scupture, but also exploring structure and use of geometry in her art which has evolved into her present work which is more geometric and no longer food related. There is a clear progression in her art and it is nice to see. I like her "Pencilballs," with its use of glued color pencils cut into spheres showing the cross sections of the color pencils as the cuts follow the shape of the piece. "Black Hose Mountain," seems to be the next generation of this idea of repetitive rod like forms, but this time there are no cuts to smoothed the surface, and there is a new element of interaction with light, which gives the piece and extra added dimension. Overall, it was a good presentation and I am glad to have attended it.
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