Michael Jantzen: M-velope by Bruno David Gallery

M I C H A E L JA N T Z E N M-velope

bruno david gallery

MICHAEL JANTZEN M-velope

June 27 - August 23, 2014 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David

Bruno David Projects 1245 S. Vandeventer Avenue Saint Louis, 63110 Missouri, U.S.A. info@brunodavidprojects.com www.brunodavidprojects.com Director: Keri Robertson

This catalogue was published in conjunction with the exhibition “Michael Jantzen: M-velope” at Bruno David Gallery Editor: Bruno L. David Catalogue Designer: Ailing Zhang Designer Assistant: Claudia R. David Printed in USA All works courtesy of Michael Jantzen and Bruno David Gallery Photographs by Bruno David Gallery Cover image: M-velope, 2014 Wood and mixed media 12 feet H x 12 feet W x 20 feet L (3.65 x 3.65 x 6.10 m) Edition of 5 First Edition Copyright © 2014 Bruno David Gallery and Bruno David Projects All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery and Bruno David Projects

CONTENTS

INTERVIEW WITH MICHAEL JANTZEN ART-CHITECTURE BY LINDSAY OHLEMEIER ARTIST’S STATEMENT Afterword BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

INTERVIEW WITH MICHAEL JANTZEN 2

Bruno L. David: CAN YOU TELL US HOW YOUR CAREER AS AN ARTIST BEGAN, AND SPECIFICALLY YOUR INTEREST IN STRUCTURES? Michael Jantzen: My mother and father both were artists. My mother did a lot of drawing and painting, and my father was a very skilled wood carver. They both were very supportive of my early realization that making art was certain to become a life long profession. Even though I was quite good at drawing and painting, my preferred art form soon became sculpture. Our family owned and operated a 50-acre summer resort in southern Illinois. It was a beautiful country property without any building codes or other restrictions. Over the years many different kinds of structures had to be built in order to accommodate the needs of running the resort. Initially my father and other people he hired built these structures. As time went on, my interest in sculpture grew and changed from carving wood and stone, to abstract constructions. Eventually these constructions grew larger and larger until some of them could be used to accommodate certain functional needs of the resort. So, some of the sculptures became places where our customers could eat, sleep, bathe, etc.

IS THIS HOW YOUR INTEREST IN ARCHITECTURE STARTED? Yes, I began to see how my sculptures could also become architecture when they facilitated certain functional needs of our customers. Before this I had only thought of sculpture as objects to look at. I started to realize that my sculptures could become much more interesting if you could live in them.

HAS YOUR INTEREST IN ARCHITECTURE ONLY BEEN BASED ON THE SCULPTURAL ASPECTS OF IT? No, as I have said, it certainly started that way. When I was studying art in the early 1970s at Southern Illinois University, I was introduced to the work of Buckminster Fuller. Fullerâ&#x20AC;&#x2122;s work inspired me to also think more about the functional aspects of architecture. As a result, over the years I have explored many ways of building very low cost, energy efficient structures. 3

IS THIS SOMETHING THAT YOU ARE STILL INTERESTED IN DOING? I am, however as time goes on, I find myself once again being more and more occupied with thoughts of how to re-invent art, especially sculpture. Obviously architecture still plays a major role in my work as an artist. I like to say that I consider myself to be an artist who often (but not always) uses architecture as my art form.

YOUR PRESENT EXHIBITION AT THE BRUNO DAVID GALLERY IS OBVIOUSLY ARCHITECTURALLY INSPIRED, CAN YOU TELL US SOMETHING ABOUT THAT SPECIFIC BODY OF WORK? These structures are part of an on going series that explores and celebrates the boundaries between architecture, sculpture, and furniture. The ultimate goal is to create new kinds of interactive spaces that encourage those who encounter them to think differently about the built environment and how it can have a positive uplifting effect on their own lives. Most of these complex structures were created through a process of conceptually subdividing the outer surface of much simpler forms into various pieces. The pieces are then subdivided again and hinged back together. The hinged pieces are attached back to the original form along one edge (much like a door or window) and lifted up off of the original form in order to create a totally different and unexpected complex shape. In some cases, these hinged pieces can be moved into different positions over the surface of the original form in order to create a transformable structure with many different potential shapes. Other structures in this series were created by connecting hinged panels together side by side (independent of an original support shape) in a way that makes them appear to be unstable. The hinged panels are actually very stable because they are connected together in a truss-like fashion so that the hinges cannot actually move. In every case, these structures were created in a way that promotes unpredictability through a system spontaneous construction

CAN YOU TELL US ANYTHING ABOUT SOME OF YOUR OTHER ART? For many years I have been very interested in, and made a lot of conceptual art. Most of this has been realized in a three dimensional form. Recently I have been developing projects like the series I call, The House As A Metaphor. This series of sculptures plays with the iconic house shape in a variety of abstracted contexts, juxtaposing the house with other recognizable symbols. Most of the pieces are monochrome, and use a single material for both the house and the additions to it, which range from stilts, wheels and railroad tracks to clouds and crosses. Minimal and conceptual, these sculptures are meant to interrogate the meaning of the house symbol by exploring how simple interventions affect its interpretation. My interest in public art has also grown over the years and as a result, I have designed many proposals for a wide variety of three-dimensional installations. Some of these are physically interactive and/or functional in one way or the other, and some actually gather energy from the natural surrounding environment and distribute it to the communities in which the structures are built. This is usually done by incorporating alternative energy gathering systems (like solar and wind) into the design of the public art project.

CAN YOU SHARE ONE SPECIFIC EXAMPLE OF THIS? A very unique example is a project I call, The Great River Turbine. This was a proposal for the construction of a very large (100 feet in diameter) stainless steel turbine in the shape of a paddlewheel, attached to a large floating barge. The barge and turbine would be moored in the Mississippi river near St. Louis. The project was presented to the city as an idea for a functional public art tourist attraction that would also make electricity for the city from the current of the river, as it rotated the blades of the giant turbine.

HAS THE CITY RESPONDED TO YOUR PROPOSAL? No, not yet!

WHAT OTHER KINDS OF ART FORMS HAVE YOU EXPLORED? As I have said, most of my art has evolved around three dimensions, however I have recently explored ways in which photography can be used to compliment my 3-D work. One example of this is my series of photo collages called, Super Symmetry. Super Symmetry photos are derived from images of physical models that I make of my designs for sculpture and architecture proposals. In most cases, the original image is manipulated with a computer in order to create a new image. Some times these new images are once again made into three-dimensional structures, in an attempt to discover unexpected new forms. Often the new three- dimensional forms are photographed once again in order to create more images. In every case, the objective is to make images that celebrate the beauty of complexity.

HAVE YOU EXPERIMENTED WITH OTHER FORMS OF PHOTOGRAPHY? My Moving Pictures series of photo art is another example of my ongoing exploration into how one might reinvent the whole notion of what a photograph could be. Traditionally, a photograph is thought of as a static two-dimensional image. In my reinvention of the photograph, I started with static two-dimensional images, and gave them a great number of variations through the movement of specific parts of the photos. Each photograph has several circular sections that slowly rotate in and out of phase from the original image. Each of these moving sections are attached to special gear motors (mounted on the back of the photographs) that rotate the parts at about one revolution per hour. As a result, the whole image is continually changing. Sometimes the images reassemble back into their original form, and sometimes they do not. If three sections are not turning in tandem with one another on one photo (at 360 degrees for each) the image changes one thousand and eighty times every hour. As the different rotating sections become more and more out of phase with each other, the abstraction of the original image becomes more and more unexpected. In addition to the number and location of the pieces rotating within each of the photos, the size of the pieces can also vary.

IS THERE ONE OVERRIDING MESSAGE THAT YOU WOULD LIKE YOUR AUDIENCE TO RECEIVE FROM YOUR BODY OF WORK? Perhaps it would be that I am not afraid to explore many different avenues of creativity at once, and that I consider creativity and innovation to be synonymous.

ART-CHITECTURE: Michael Jantzen’s M-velope BY LINDSAY OHLEMELER 8

In Michael Jantzen’s M-velope, the precise discipline of architecture combines with the limitless possibilities of art and sculpture to create an intriguing effect. What distinguishes the M-velope from other works is its ability to conceptually imply the potential of movement. Formed of wood and hinges, it appears to be a transformable piece. Upon closer inspection, however, one will notice that the unit is secured into one position—thus capturing Jantzen’s vision in an anatomically sound structure, a sort of frozen origami. Likewise, the choice to use basic materials in a complicated manner showcases Jantzen’s ability to juxtapose the recognizable with the unrecognizable. Viewers of the M-velope will also recognize Jantzen’s image in the accompanying maquettes. Each model furthers the contrasting themes of malleability and fixed figures. As one exhibit, the M-velope and maquettes incline visitors to deconstruct their preconceived notions about traditional architecture and living spaces. The similarity of the models interrogates the meaning of the house symbol by emphasizing the subtle interventions in each design. Experiencing the M-velope is not limited to observation. The opportunity to enter the work offers another dimension of understanding. Once seated inside, one can contemplate the architectural prowess and careful design that such a structure necessitates. With this piece, Jantzen invites the view to explore the boundaries between architecture, sculpture, and furniture, and the ways in which they combine to become one experience. Jantzen’s technique of taking familiar structures such as houses and tweaking certain aspects forces one to confront the idea of something unrecognizable emerging from the readily recognizable On his website, Jantzen states that designs such as the M-velope “begin to suggest the possibility of an alternative universe of subsets, capable of endless potential.” The call to reexamine traditional building techniques and architectural styles is but the first step in a never-ending journey of discovery. Jantzen’s ideas serve as the impetus for such a process, and his works provide unique opportunities to escape convention. Through these works, viewers are compelled to consider the symbiotic relationship between creativity and innovation. Michael Jantzen has also stated that “the ultimate goal is to create new kinds of interactive spaces that encourage those who encounter them to think differently about the built environment and how it can have a positive uplifting effect on their own lives.” Jantzen does not only hope to encourage viewers to reconsider quotidian symbols. He pushes them to take the experience a step further and use the observations and realizations gained to change how each person interacts with their daily environments. Lindsay Ohlemeier is a writer who lives and works in St. Louis, Missouri. This essay is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends. 9

ARTIST’S STATEMENT BY MICHAEL JANTZEN 10

These structures are part of an ongoing series that explores and celebrates the boundaries between architecture, sculpture, and furniture. The ultimate goal is to create new kinds of interactive spaces that encourage those who encounter them to think differently about the built environment and how it can have a positive uplifting effect on their own lives. Most of these complex structures were created through a process of conceptually subdividing the outer surface of much simpler forms into various pieces. The pieces are then subdivided again and hinged back together. The hinged pieces are attached back to the original form along one edge (much like a door or window) and lifted up off of the original form in order to create a totally different and unexpected complex shape. In some cases, these hinged pieces can be moved into different positions over the surface of the original form in order to create a transformable structure with many different potential shapes. Other structures in this series were created by connecting hinged panels together side by side (independent of an original support shape) in a way that makes them appear to be unstable. The hinged panels are actually very stable because they are connected together in a truss-like fashion so that the hinges cannot actually move. In every case, these structures were created in a way that promotes unpredictability through a system spontaneous construction.

AFTERWORD BY BRUNO DAVID I am pleased to present a new exhibition titled “M-velope” by Michael Jantzen. This show marks Jantzen’s first solo exhibition with the gallery. Michael Jantzen is an internationally known artist whose work has been featured in hundreds of articles, books, magazines, and newspapers from around the world. His work attempts to merge art, architecture, technology, and sustainable design. He has not been educated as an architect but rather as an artist, using architecture as an art form. By incorporating his surroundings, he assimilates his pieces simultaneously to fit within the environment and likewise the environment to accommodate his pieces. Much of his work, in one way or another, explores new ways of thinking about the built environment. Michael Jantzen has always approached his art and design as an inventor, rather than a stylist. By creating architectural art, he is reinventing the built environment so that it can continually be altered to meet the changing needs and desires of its occupants. At times, he attempts to invent systems and components that can be assembled and reassembled in various ways, thus creating form from symbolic references, which relate directly to the specific site and/or function of the project. As a result, another aesthetic component evolves that is unexpected yet equally relevant. In his recent works, he has developed an architectural art structure that holds both functionality and aesthetic beauty. His latest sculpture titled M-velope is one in a series of functional art structures designed to be special places in which to escape from the normal reality of a predictable conventional space. Those who encounter the M-velope will be inspired to think more creatively about their own passions in life. The M-velope series aesthetics are based on the world famous M-house, also designed by Michael Jantzen, which was exhibited at the Museum of Modern Art in New York. The final shape of the M-velopes are generated from much simpler forms, which are further subdivided into various segments, and hinged in and out to create a “final” form. Reinventing the world’s external spaces and sharing this vision with others to create a better place for all humanity is one of Michael’s goals for his works.

His work has been featured in a multitude of books, magazines and newspapers. Some of the magazines include Wallpaper, Architecture Magazine, Architectural Digest, The AIA Journal, House & Garden, Popular Science, Domus, Elle Décor, Esquire, Dwell, Metropolis, Art Forum, and Newsweek. Newspapers include, The New York Times, The Los Angeles Times, The New York Daily News, The Chicago Tribune, Der Spiegel, The Washington Star, The Kansas City Star, The Detroit Free Press, The Tampa Tribune, and The St. Louis Post-Dispatch. Some of the books include, “Architecture in the United States”, “Architecture Now”, “Architecture in the 20TH Century”, “The 21st Century House”, “Brave New Houses”, “Architecture Art, High Tech”, “The Solar Living Source Book”, and the “Atlas of Eco-Architecture”. His work has also been featured in TV documentaries. It has been exhibited at the National Building Museum, the Canadian Center for Architecture, the Harvard School of Design and Architecture, the Russian Institute of Architecture, and at the Museum of Modern Art in New York. Michael has been cited as one of the pioneers of the sustainable design movement from the 1970s, and has taught sustainable design at Washington University in St. Louis, and at the Art Center College of Art and Design in Pasadena California. Michael has been a consultant on many projects for various organizations such as, the Herman Miller Company, Advanced Structures Inc., Bio Sphere 2, e-solar, the Lawrence Hall of Science, the Buckminster Fuller Institute, the Missouri Botanical Gardens, the Massachusetts Institute of Technology, Washington University in St. Louis, Neiman Marcus, and NASA. Michael Jantzen was born in 1948, he lives, and works in Los Angeles and St. Louis, Missouri. He received his B.S. Degree (Fine Arts) from Southern Illinois University, Edwardsville (1971), and his M.F.A. Degree (Fine Arts, Multi Media) from Washington University in St. Louis, St. Louis, Missouri (1973). Support for the creation of significant new works of art has been the core of the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Lindsay Ohlemeier for her thoughtful essay. I am deeply grateful to Ailing Zhang, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Keri Robertson, Yoko Kiyoi, Jackie Jevorutsky, Yuwei Qiu, Ailing Zhang and Abigail Spratt.

CHECKLIST & IMAGES OF THE EXHIBITION

M-velope, 2014 Wood and mixed media Edition of 5 12 x 12 x 20 feet (3.65 x 3.65 x 6.10 m) 16

M-velope, 2014 (Interior View) 17

M-velope, 2014

Shape Shifting Pavilion (Maquette), 2014 Painted plastic Edition of 3 15 x 15 x 23-1/2 inches (38.1 x 38.1 x 59.7 cm)

M-velope, 2014 Painted plastic Edition of 3 12 x 12 x 20 inches (30.5 x 30.5 x 50.8 cm)

Slanted Pavilion (Maquette), 2014 Painted plastic Edition of 3 10 x 15 x 16 inches (25.4 x 38.1 x 40.6 cm)

Zig Zag Pavilion (Maquette), 2014 Painted plastic Edition of 3 14 x 16-1/2 x 13 inches (35.6 x 41.9 x 33.0 cm)

Out of the Box Pavilion (Maquette), 2014 Painted plastic Edition of 3 11 x 15 x 39 inches (27.9 x 38.1 x 99.1 cm)

4-Square Pavilion (Maquette), 2014 Painted plastic Edition of 3 11 x 17 x 17 inches (27.9x 43.2 x 43.2 cm)

M-V-3 Retreat(Maquette), 2014 Painted plastic Edition of 3 11 x 8 x 22 inches (27.9 x 20.3 x 55.9 cm)

Personal M-velope(Maquette), 2014 Painted plastic Edition of 3 10 x 10 x 15-1/2 (25.4x 25.4 x 39.4 cm)

Michael Jantzen: M-velope (installation view)

Overpass (moved), 2014 Digital Printing on paper 12 x 17-1/2 x 2-1/4 inches (30.5 x 44.5 x 5.7 cm)

Railroad (moved), 2014 Digital Printing on paper 12 x 17-1/2 x 2-1/4 inches (30.5 x 44.5 x 5.7 cm)

Horizon Line (moved), 2014 Digital Printing on paper 12 x 17-1/2 x 2-1/4 inches (30.5 x 44.5 x 5.7 cm)

Doorway to Heaven(moved), 2014 Digital Printing on paper 17-1/2 x 12 x 2-1/4 inches (44.5 x 30.5 x 5.7 cm)

Deconstructing the Churches, 2014 Digital Printing on paper 16 x 20 inches (40.6 x 50.8 cm)

Deconstructing the Houses, 2014 Digital Printing on paper 16 x 20 inches (40.6 x 50.8 cm)

CARMON COLANGELO: Storms, Bruno David Gallery, 2014 (Installation view: Air Mail)

Deconstructing the Cube Mixed Media and wood 12 x 12 x 12 inches (30.5 x 30.5 x 30.5 cm)

Deconstructing the Pyramid Mixed Media 32 x 18 x 18 inches (81 x 45.7 x 45.7 cm)

ARTISTS Laura Beard Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Beverly Fishman Damon Freed Douglass Freed Joan Hall

Richard Hull Kim Humphries Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Peter Marcus Patricia Olynyk Gary Passanise

Judy Pfaff Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Mario Trejo Ken Worley

brunodavidgallery.com brunodavidprojects.com