Lauren Doyle
Wall
1/27/09
Beatnik Collaboration
Altered and Assembled: The Beat Goes On-New Perspectives approached a highly addictive time that forever was known as the Beat Generation. Juror, Maryann J. Riker expresses her thoughts and admiration while keeping history an important factor. Riker persistently remarks, “ Certainly these works say something moving about a moment in this country’s history when art was about invention ... and anything seemed possible.” Anything was possible in the 1950’s art world. People were throwing paint on stretched canvas, gluing dead birds to artwork, while seemingly making a huge statement to the American public. Invention through the use of everyday materials or found objects can be used for effective and responsive artwork.
As I walked into the art gallery, Altered and Assembled: The Beat Goes On-New Perspectives, I was reminded of a familiar pastime that I have always enjoyed, painting. My current work jumps into the Beatnik period and grabs Robert rauschenberg and Bruce Connor by the neck. Sarah Lee Butler, a New Perspectives participant, constructed coffin-like boxes that can resemble past memories or fears. A specific piece, Numbers, signals strong emotions and reckless abandonment. The repetition of the two digit numbers carries movement throughout the piece. The texture of tar or concrete approaches curious questions. Although, the scratching finger nail detail mixed with the dark and chaotic texture, establishes a sense of prolonging affection.
After pondering Butler’s artwork, I ventured over to Gary Grave’s piece. Thinking about Butler’s work seemed useful yet predicted. Unlike Butler, Graves placed his piece, Age 7, way above a two foot pillar. There on top was a stack of miniature gelatin silver print photographs of a naked man. Photographs were almost the size of dimes. Maybe the artist wanted you to take a closer examination on the man in the speedo.
Overall, the show was impressive. The history the show connected with the young and was overall pleased. Understanding that facts of the Beatnik era can flow from any crevice of the art community, it can freely move into future elaboration with other history.
...and the Beat still goes on. A great era, and why should it be over? You've examined this show in a way that clearly connects back to your own on-going work. Themes of the beautiful within the abject object, the appeal of the subtleties within images, the inspiration of Raushenberg's radical "Combines" that still suggest new possibilities today. Think big, keep moving! (5 weeks and counting, Woa!)
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