HERSTORY

HERSTORY

"I am a woman, I will not be tamed."

On Tuesday November 1 from 4 to 5:30pm was the opening reception of Dana Leyba's first solo-exhibition Herstory. The work is exhibited at Illinois State University's Rachel Cooper Gallery which is an extension of the Women's and Gender Studies Program. This exhibition will be on display until January 20, 2017. Dana Leyba's inquiry is connecting women in art history as well as her personal life experiences. 

https://www.artsy.net/artwork/claude-cahun-i-am-in-training-dont-kiss-me-1927

Dana Leyba's work is influenced by artists in history. First inspired by the Gauguin's paintings and their aesthetics of primitivism. In addition to Gauguin's application of paint to render the figure. However, Leyba is creating her own figurative sensibility when it comes to rendering the human figure. The work is actively engaging. Each mark leading the viewer into another layer. There is a relationship between painting, drawing and more recently text. This text is smart and witty. In particular to "I AM IN TRAINING DON'T KISS ME," Leyba is commemorating Claude Cahun's I am in training, don't kiss me, 1927.  Dana Leyba explores collage with cardboard and leaf forms giving the paintings material physicality beyond paint. 

I AM IN TRAINING

DON'T KISS ME

I am studying

I am advancing

I am creating

A future

A goal

An Achievement

In HERSTORY

Dana Leyba is a woman as well as a sister, artist, student, being, and thinker in the world today.
Leyba has eliminated the role of a man and has become another voice for the power of women. Depicting that woman are more than a pretty body or face to gaze at. Her work, particularly her nudes, are not in conversation with the male gaze. It is about being a woman. The embodiment and embracing that being a woman is more than an emotional metaphysical state, but the unavoidable physical characteristics. Women are intelligent, hard working, attentive, and loving. Dana Leyba reveals her relationship as being part of a triplet with her two sisters. This relationship is significant for the three woman nudes. Each painting depicting a different way of behaving as well as being. The nudes are not rendered to be considered "sexy" and "open for invitation." The application of paint is opaque, bold, and brief. Leyba succeeds in illustrative with cool to warm outline while achieving a energy.

This is not your body

It is mine

I am free

I am reserved

I am existing in between

   

Red outline

Heated skin

Unamused of your gaze

Not the intention

Not the Invitation

I am but a woman

Laying

No peeping 

This small exhibition is a strong start to Dana Leyba's emerging career. In addition, to fueling her continued body of work participating in post-feminist conversation. Leyba is challenging the roles society puts on women. Dana Leyba has become a powerful voice and embarking on a positive future in painting. Herstory is a must see exhibition. 

Bringing Drawing to a Third Dimension

Bringing Drawing to a Third Dimension

JASON WALKER Lecture

November 1, 2016

12:00pm

University Galleries

Normal, IL

Grew up in Idaho “West” not East “Iowa”

16 years of studio artist living off of work

Between that time, he has taught and participated in residencies. 

Lives and works in Hawaii

Incredibly interested in the magnificence of Chinese poetry and its masses, as well as its use of ceramic as a surface for drawing or painting. He asks himself "Why make what I make? Forms?" During graduate school, he began inquiring what nature is defined to be. Through nature he is able to examine the culture he lives in as well as self- reflection and how those personal undertones tie into his work.

At the end of the lecture, Jason Walker was questioned by fellow ceramist Albion Stafford about the relationship shift of the important of clay. In the beginning of Walker's work, knowing the material being clay or porcelain was significantly important in the sense of pottery. In addition, he addresses the significant historical content clay has in that it was one of the first technologies. Humans learned that buy containing fire something can change completely. Jason Walker says, "you can make whatever you want with clay." Walker is most interested in the physical properties of clay which he is expanding in his most latest works. He is exploring the landscape of technology.

http://www.crossmackenzie.com/jason-walker-corporeal-perspectives/

Concrete to urban situation. 

Wonder like a child.

http://www.ceramicsnow.org/post/3312130159/jason-walker-wild-ones-and-zeroes

Exploration and discovery within places that are considered wild yet they are always within access. If we allow them to be. Capitalism consumes its consumers. Suffocation and panic. Jason Walker invites his viewer to engage in this conversation of capitalism effecting the environment around us. Maybe even educating us in a way children’s books are constructed. Illustrative, colorful, hybrid forms, animals, people, buildings, textures. All details are being taken in in it’s most minimal sense. Until there is a break in perception and you really understand what is going on. Walker had described technology as a superpower, especially in digital technology. 

It is interesting to engage in a conversation shortly after with a peer. Leaving the lecture enchanted and interested in seeking more of the work. Being confronted and given the view of from someone who isn’t for the government and uninterested, “another white man talking about capitalism.” Although, this view is apparent and true, Jason Walker is going beyond by himself actively participating in capitalism as a  means for living. It is intriguing that utilitarian ceramic work that is also being spoken to technology, the environment, and capitalism is being reached to people to use in their daily lives. Perhaps there are collectors of Jason Walker’s work that keep on a shelf, in a cabinet, as a decoration, etc. not to be used in the way it can function. Either way the world has Jason Walker's work...they have it and can share in the dialogue with him.

"Where there are bears, there are not people. These places are considered to be truly wild." 

http://www.dailyartmuse.com/2011/01/17/jason-walker/

I Want To Be Ordinary

I WANT TO BE ORDINARY 

DEMO project

Springfield, IL

Prayer for Springfield

Two-person collaborative INDUSTRY OF THE ORDINARY 

On Friday October 7th at 6pm in Springfield, IL, DEMO project conducted a hog roast performance along with a found object installation.

Upon introduction, you were greeted by two English accented chefs that asked, "Are you a pessimist or an optimist?" You were to respond to have in return the word stamped on your hand and given a cup with "I want to be ordinary...You are not." This cup was to be used for the famous American Budweiser. The cans are then dumped into the trash. Graciously accompanied by a sign that says "Please Drop Your America Here." This is a complete reference to disposable culture.

The performance had been the cutting up of this hog and then the carcass to be left as you eat your "Ordinary" BBQ Pulled Pork Sandwich.

The audience at this event were majority part of the community, however  extremely welcoming atmosphere.

/ko͞o/ 

Brendon Siscoe & Michael Stephen

Scavenger Hunt. Seeking.
Creating a narrative space with found and made objects to create an environmental relationship with the viewer. The book with a bullet hole just the size of the whale bone ear plugs. On the ground is a cleverly placed newspaper article. It was displayed next to the fireplace with a match inside a glass tube. Unlit. Leaving the origin of the fire unknown from the article. Mysterious.



Made object out of found objects. The list was very important to know the materials. Located on the bottom right book shelf is the book Gone With the Wind featuring a bullet hole which speaks to the size of the ear plugs on the mantel of the fireplace. The Deadly Inferno newspaper cleverly placed next to the fireplace. Next on the materials Metallic tropical scene comparable to the vacation resin covered boxes the clipped shut. The painting was held up by the shiny new ladder. 

The title and materials list was extremely important for this exhibition. Each material was significant. Some more that others. Michael had created a couple very unique mundane objects with unexpected material.
wisdom tooth
melted vhs with diamond dust
chip off the ground
Material list that made you go find things. Not objects that can be found anywhere. There is age and specificity to the objects. Considering where they were found or bought.

What would incline someone to make a penny out of a wisdom tooth? Bringing Lincoln to the Land of Lincoln. Michael Stephen had bought a wisdom tooth and then shaved that wisdom tooth down to become a penny. No copper or "penny" material is used. Only an old wisdom tooth is the material for this work.

Crows Foot.

Moon Rock Print. 

Narrative. Weird extraterrestrial stories. Space landing child playing and creating these relationship with the old and the new. Influenced by fictional story books or television.

1st Century a.d.

Roman Iron Crucifixion Nail. 

It is a once in a lifetime show to experience in person creating these relationships for yourself. Found object art can be a difficult endeavor that however DEMO project is allowing Michael and Brendon to operate in an effective way for their audience. The objects spoke to the surrounding space in such a clever and fascinating way that it kept the viewer actively participating in this scavenger hunt that is being created.

Denim Jumpsuit and Red Lipstick

Denim Jumpsuit and Red Lipstick

Corbet vs. Dempsy Gallery
Chicago, IL

On Friday October 21^st from 6 – 8pm was the opening reception for Rebecca Morris and Cauleen Smith at the Corbett vs. Dempsey gallery in Chicago, IL. Upon arriving, the small gallery is on the upper level of a strip building. Walking up the stairs being greeted by posters from past exhibition shows. The first reaction to the space is astonished by the aesthetics.

Yellow hued hardwood flooring.

Red brick walls.

Reception Desk straight ahead through the bodies.

On the direct right wall is a register patterned painting that variates in mark, color, shape, and application. Rebecca Morris's works use oil paint and enamel. Rebecca Morris's use of soft suggestions leads the viewer to different fabric material as well as architecture. The positioning of the patterns can be associated with a horizon leading into a landscape. 

Continuing traveling through the space, around the right corner is the banner of Cauleen Smith used during her Black Love Processions: Conduct Your Blooming (2016). This particular piece behaves as a documentation for a performance. Left with only the banner and the information given to the viewer on the table. There was slight disconnect in that the banner could not be shared in its original state and now is simply pinned in the corner. As well as being in an entirely separate area from Morris.

Reentering the main gallery space, the viewer is in the presence of six large paintings that are strategically spread through the space. Three out of the five paintings involved a very large circle. All in reference to figure ground relationships yet maintaining a flatness that carries a puzzling experience of questioning what is reality and what is not. The circle behaves as a portal into the space but also as an object in the way of entering the flat grounded space behind.

The edges are soft on the forms taking up the space inside the sphere. These elements feel rather design. Using Gestalt principles such as similarity, translation, and proximity.
















Figure ground relationships and the paint application in references to the body as well as fabric, surface materials that have the potential to be altered in flatness or three dimension. These properties are intriguing and puzzling. The back and forth experience is suggested yet not overpowering. The significance is on the strokes themselves. Due to the scale of the work, it was very east to consider they work as object-like. 

Little strokes being held behind a tiny-square structure but then in it's entirety the strokes are being held behind this silver enamel screen. The screen acts as a protectant or a window to see inside. This painting is stubble yet carries a lot of anxiousness in the way the large two inch brown marks are frantically spread throughout the surface.

Blood splatter slide. 

Landscape with weird gold enamel breaking the surface. Black paint that spread out and became softer as the oil absorbs into the canvas. More in front and less in back creating a horizon. Light silver grey outline around inside the gold enameled shapes to heighten the figure ground illusion that Morris has a fascination with.

Leopard print and Dalmatians. 

Turns into Metal and Snow.

Rebecca Morris is taking over more space and frankly presence. The paintings can be experienced in real time as the banner is experiences as a documentation for the performance it had participated in. It was hard to become a part of the banner both for the lack of participating in watching the performance with the banner, along side being a white woman. There is a cultural difference that leaves an otherness. However, there was a free book provided by the gallery titled Human 3.0 Reading List 2015-2016. Human 3.0 Reading List 2015-2016 is the missing piece of the puzzle that the "Conduct Your Blooming" banner needed.

This book allows to reach her content more through social cultural references. It deserves more attention. Cauleen Smith is providing her audience with a reading list unlike any other. She hand drew the covers of the books on graph paper using colored pencil, marker, paint, and graphite. A collective of cultural discoveries that can reach beyond by engaging the audience to seek these readings for themselves. Of the entire show, this book...documentation of reading has made the most impact. It can be reached to an audience in real time. Consistently throughout the day or left on a shelf to rediscover later. Within each page is a new method, a new word to latch on to. Cauleen Smith finishes the reading list with a MANIFESTO. Some quotes include following...

BLACK PEOPLE ARE AT WAR WITHOUT THE PROPER ARMOR. WE REQUIRE INOCULATIONS THAT REPEL THE SEDUCTIONS OF CORPORATE SERVITUDE.

Our universities cannor exist without burdening students with debt.

We can rationalize the selling out of public property for higher property values and much needed neighborhood amenities (like fresh produce). We can occupy the streets in protest against state sanctioned violence against black people (however we perform and experience our genders). But without a weaponized, and generative Consciousness <<CONSCIOUSNESS>> we cannor save ourselves from the seductions of neoliberalism.

STUDY.
Deep and active study. 

Supplemented with CONVERSATION engaged in with the intention of producing RESISTANCE and earning the callouses that resistance demands.

Naw, this ain't no afro-pessimism shit. This reading list is for the Doers-Who-Think; not the academics who think there's no point. This shit is for Jimmy Baldwin's afro-optimist. Because the only reason to destroy this world is if we shar the fundamental belief that a better world is possible. 

These 57 books are, all that I am able to draw right now. These are some of the books that literally changed my life, saved my life and sustain my life, but also, (fair warning) make it difficult for me to
go along
get along
look the other way
and get mines.

Love.

Resist.

Read on.

Right on.



In the entirety of the show, Cauleen Smith's work has exceeded the amount of emotional being, intelligence, and life-changing-effectiveness that Morris's work lacks. I have the ability to carry this reading list and to read Smith's words over and over. Each time going further and further into an understanding I had not quite acquired before. 

Lecture as Performance with Danny Volk

Lecture as Performance with Danny Volk

Humorous. Expressive. Descriptive. Experimental. Controller.

"God DJ". Order of Appearance.

Danny Volk is originally from Akron, Ohio. He now lives and works in Chicago along with teaching at the community college. Volk studied at Kent State University receiving his BA Theatre Studies in 2006. He received his graduate degree in Visual Arts at the School of the Art Institute of Chicago in 2014. Danny Volk is a conceptual, performance, installation, and video artist. He has been acting all his life--memorizing lines and following rules. Taking on the role of a character but taking it in as his own experience as well. Volk spoke confidently. He was comfortable. Using hand gestures and beginning a conversation with his audience.

DVNY

Danny Volk refers to his performances as a series of projects. DVNY stands for Danny Volk, New York. The Danny Volk standing before us had been tagged in a post by New York Danny Volk's girlfriend. "Yes...and? Improv," says Volk in response to this event. He began changing who he was on his Instagram posting suits, fancy breakfast in bed, watches, etc. Anything that could relate to the Danny Volk in New York he translated into his Instagram. Participating in stealing other people's photos, having a group that was in on playing this "game" he had created. Then, he had added a new variable into the experiment. Tagging actual people became an interest and the reaction was acknowledgeable to that it wasn't the Danny Volk they believed him to be. What does this performance say about humanity? It breaks the boundaries and norms that society has created for us to behave. We often see negative towards the word "fake." However, Volk has opened a door to experimentation and creating rules for himself to follow to step forth into the world of make believe. What makes an act make believe or reality? If it is happening, is it not reality?

The idea of documentation through questioning who the project is for, what are the character rules, and showing the role of the camera are presented in the Order of Appearance. The "God DJ" controls the sound, music in the background...everything. Danny Volk only controls the volume. It interrupts the conversation between the two performers. There was tension created in how uncomfortable the speakers were being interrupted by the God DJ/ Danny Volk. During this performance, he exposes the camera because the "subject matter is too personal." In addition to the rules he has created, the people involved had not been fully aware that they were performing. 

University Galleries.

In the lecture, I began noting to myself the gestures, tone of voice, and posture Danny Volk was using during his talk. Was the audience a part of yet another performance? Some live by the quote that life is a performance. Some or most are skeptics of this philosophy. Danny Volk is fascinating, different than other artists. He evokes you to question what is real and what is not. Using consent as a central base, he draws fine lines in both directions. He believes his work to be research documentations that "allow, to, for, with" individuals. Ultimately, leaving the audience amused, confused, and even exposed for participating in yet another performance by Danny Volk.