Haven

WOR KS O F HUM A N I T Y A N D E N V I RON M E N T

1. Jerry Saltz, “Our Picasso?,” The Village Voice, January 17, 2006, 79.

HAVEN: Introduction |

Halley Kurtz

A haven can be described as a safe place, but it does not always have to be a physical space—it can also be an idea. Art is about evoking something in the viewer.

The works in this exhibition were chosen because they evoke the idea of a haven.

That idea is that an image can be more easily identifiable for the viewer because of the minimal presence of figures.

This allows for the viewer to input their own feelings into the work, and give it personal meaning.

This exhibition has been a journey of discovery. As the curator, I had to act as the detective uncoding the first piece of the exhibition, Gregory Gillespie’s work The Hall Corner: Graves House (Interior with Hanging Picture). The work shows an interior like many of the of the works gathered, but it had undertones of a bigger meaning queued by picture mentioned in the title. That idea of a simple image of domesticity relating to a more expansive concept was the real driving idea behind the choices made to create the exhibition.

The works are from the same time period, mid-twentieth century. This was a transition period in the art world between the modern and post-modern period.

The earliest work, Robert Rauschenberg’s Bed from 1955, in the exhibition is part of the abstract expressionist movement.1 The research results of Gilliespie’s piece showed evidence of a strong abstract expressionist influence in the way the surface of the work was handled. Abstract Expressionist work could be interpreted as concerned with the hidden meaning within, that a piece could be both personal and universal, and they interplay between the canvas’ real space and the visual space it portrays as seen through the examples of art within this movement.

Most of the pieces chosen were created after the beginning of the 1960s, one of the most socially and politically turbulent times in American history. During this time, artists began to experiment with traditional forms, such as the painting and sculpture within the exhibition, by approaching it with untraditional subject

matter or media. The sculptures in Haven are life-sized. Created a bit later than the majority of the paintings they showcase how the art world was forced into a ripple effect of change from the 1960s.

The large mixed-media sculptures are arguably site specific even if that site is required to move with the piece itself. It is an interesting paradox that the idea of the haven can be created with a scaled structure that is not always suitable for a human habitat. This same theme works within the paintings. It is physically impossible to live within a painting, though a viewer could imagine themselves in the mentally created space.

This exhibition is meant to conjure emotion good, bad, sad, confusing, scary, or whatever. By confronting the viewer to think, the show is considered successful.

Gillespie’s piece provided a good featured piece to build the show out from because it contains so much symbolism that is important to the theme of the exhibition.

Gregory Gillespie 1971 44 ¼ x 41 1/2 inches oil and magna on masonite West Virginia University

2. Roberta Smith, The New York Times, April 29, 2000, accessed March 17, 2012, www.nytimes.com/2000/04/29/arts/gregory-gillespie-64-an-unflinching-painter.html.

3. Allison Protas, Geoff Brown, Jamie Smith, Eric Jaffe, “University of Michigan Dictionary of Symbolism,” University of Michigan, last modified 2001, accessed March 17, 2012, http://www.umich.edu/~umfandsf/ symbolismproject/symbolism.html/.

4. Valerie Hillings, “Picturing America: Photorealism in the 1970s,” Guggenheim, accessed April 9, 2012, www.guggenhiem.org/new-york/ exhibitions/past/exhibit/2867.

5. “Girl Scout History,” Girl Scouts of America, accessed April 2, 2012, www. girlscouts.org/who_we_are/history/.

6. “Cold War,” History, accessed February 22, 2012, http://www.history.com/ topics/cold-war 7. “Sollie 17: Smithsonian American Art Museum,” accessed April 17, 2012 americanart.si.edu/collections/search/artwork/?id=68049.

This painting by Gregory Gillespie explores the impact of the Cold War on the domestic lifestyle. The lack of living beings within the composition suggests the alienation and paranoia associated with this period in history. The composition also shows the influence of the surrealists, an earlier modern movement in the twentieth century.2 There are multiple exterior light sources in the composition signifying the possibility of multiple suns. The window reaching from floor to ceiling suggests a door, but it would be completely non-functional for a human.

At the center of the work is a bird house that is being viewed from within

a house. The bird house is empty and does not suggest that anything is inside. Houses suggest safety and birds suggest freedom, 3 but with in this work it seems as if those ideas have been compromised giving the piece a more negative connotation to the observant viewer.

The key to unlocking the meaning hidden in this piece is the picture mentioned in the title. The photorealist4 image contains a painted photo of a group of Girl Scouts talking to a man standing in front of a space craft.5 This image is a strong indication that the Cold War was the inspiration behind the work.6

Sollie 17 Edward Kienholz & Nancy Reddin Kienholz 1979-80 120 x 336 x 168 in mixed media construction Smithsonian American Art Museum

This installation piece was chosen to be a part of the Haven exhibition because of the theme of alienation carried over from the Gillespie piece that worked as the inspiration for the exhibition. The viewer can peer into the life of an older man living alone in a small hotel room.

Though an abstracted figure is present in the work, the environment around him holds the emotional impact.

He sits reading a book facing his single bed which has cards laid out like his is in an infinite game of solitaire.

Though this piece does not have the same political agenda as Gillespie’s piece, but it does comment on aging America.7

The removed section of the hallway and the selective perspective of the viewer into the room provides the same voyeuristic experience for all, but there are strong emotions tied to elder figures in an individuals life. It is possible to interpret the glimpse into this man’s life in many ways. There are many symbols included, such as the game of solitaire, that indicate the path of his life but there is no way to know the entire story.

Sollie 17 is an in-depth look filled with iconic imagery indicating his past and current state.

Cell (Hands and Mirror) Louise Bourgeois 1995 63 x 48 45 in marble, painted metal, mirror The Institute of Contemporary Art Boston

8. “Bed,” MoMA, accessed April 17, 2012, http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4823&page_ number=4&sort_order=1&template_id=1.

9. “Art 21: Identity,” PBS video, 53:40, 2001, http://www.pbs.org/art21/ watch-now/segment-louise-bourgeois-in-identity.

10. Michael Moritz, “A Bigger Splash,” Technology Review, (2001): 99.

Though this piece was created later than all the others within the exhibit, it shares many of the same themes followed throughout the other works.

Bourgeois’ use of industrial materials originated with Rauschenberg’s combines8, where items are collected and used in a piece. Like the other sculptures in the show it is a selfenclosed structure. When the doors of the polygonal shape are opened it provides the viewer with a 360 degree view of a real space although its context is abstracted from any individuality.

Bourgeois used hands in many of her later works to explore identity and memory.9 This work is filled with several

psychological triggers: the clasped disembodied hands, broken glass, open windows, and empty decorative bottles all clue the viewer to look beyond the physical object and think about how it applies to their own personal experience.

The work was chosen as part of the exhibition because of the thoughtevoking imagery in an enclosed space and the intimate position of the hands allows for the abstracted idea of how humans interact with the environment.

The title “cell” encompasses these thoughts as well, that everything is working as part of a larger organism.

Though this painting is conveying a second in time of a violent interruption of serene water, the scene is extremely calm and idyllic. The violent burst of water is caused by the assumed human interaction with the pool as the subject has just jumped into the pool creating the splash to which the title refers.

This is one of Hockney’s most wellknown works and showcases his love of California living.10 This work is the only one within the exhibit to be set in an exterior setting, but is included because of the human’s imposed presence on the man-made environment. The patio of the house is an extension of the property, also called outdoor

living space. In the warmer climates of Hockney’s subject matter the pool becomes a much important part of the home and daily life of the individuals living within its quarters.

A Bigger Splash David Hockney 1967 2425 x 2439 x 30 mm acrylic on canvas Tate Modern

11. Roberta Smith, The New York Times, April 29, 2000, accessed March 17, 2012, www.nytimes.com/2000/04/29/arts/gregory-gillespie64-an-unflinching-painter.html.

12. Sam Hunter, “New Paintings,” accessed April 21, 2012, www. howardkanovitz.com/Howard%20Kanovitz’s%20New%20Paintings.pdf 13. Jerry Saltz, “Our Picasso?,” The Village Voice, January 17, 2006, 79.

14. “Bed,” MoMA, accessed April 17, 2012, http://www.moma.org/ collection/browse_results.php?criteria=O%3AAD%3AE%3A4823&pa ge_number=4&sort_order=1&template_id=1.

15. Ibid

Kanovitz work is very similar to Gillespie. Both artists are part of the photorealist movement in the 1970s and also show strong influence from the surrealist movement in their works.11 This piece by Kanovitz shares many qualities with The Hall Corner: Graves House (Interior with Hanging Picture) by Gillespie. There is an iconic tile floor in the bathroom that also appears in Gillespie’s interior. The hotel room itself is full of physical ambiguities of space and the relationship of objects, much like the corner painted in Gillespie’s work.

Though this work contains the presence of a human figure through

a reflection, she is detached from reality, obscured from the viewer by the mirror, blankets, and a book in which she is much more engaged with than the viewer. The piece explores the same themes of the exhibition while provoking the idea of alienation within the interaction of the human with her environment.12 It also relates to the other work about a hotel in the collection, Sollie 17 by the Kienholz’s.

The same messages are being sent of the lone individual caught in the vortex of a hotel room cut off from the rest of humanity by the four walls enclosing the small room.

Hotel Quai Voltaire Howard Kanovitz 1974 62 1/8 x 90 in acrylic on canvas Smithsonian Hirshhorn Museum and Sculpture Garden

Bed Robert Rauschenberg 1955 6 ft 3 1/4 in x 31 1/2 x 8 inches oil and pencil on pillow, quilt, and sheet on wood supports Museum of Modern Art

One of Rauschenberg’s earliest combines was Bed in 1955.13 The artist, who is known for mixing traditional media with found objects in his work created this piece as an almost selfportrait without the artist.14 He is in the work because these are allegedly his very own bed clothes.15 The objects are stretched on a canvas that hangs on the wall like any other painting, but plays with the figure-ground relationship by coming out from the wall as is the nature of real objects to do though it is part of a three-dimensional painting.

Rauschenberg had a strong influence on Gillespie’s work as can been seen through his choice of non-traditional

materials and painting surfaces that have been given dimension by putting nails in the pressed wood Gillespie painted on in the featured work.

The piece was chosen to be a part of the exhibition because the symbol of the bed is such a familiar object for all humans. The object and the human usually have a daily interaction. Though the chaotic treatment of the object with the media create a contrast between the serene ideal the viewer may have of a bed.

16. “Richard Estes,” last modified 2007, accessed April 21, 2012 www.muesothyssen.org/microsites/ exposiciones/2007/Estes/index_ing.htm 17. Ibid 18. Ibid 19. “The Creative Power of Postwar German Art,” The Lancet, June 19, 1999, 2167.

20. Ibid 21. Ibid 22. Ibid 23. Ibid

Telephone Booths Richard Estes 1967 122 x 175.3 cm oil on canvas Museo Thyssen-Bornemisza

Estes work is so illusionistic, it is hard to believe it is not a photograph, but even though Estes was one of the influential creators of the photorealist movement in the 1970s he “does not identify himself with this trend and prefers simply to be considered a painter in the traditional sense of the term.” 16 This piece, one of the most wellknown of his works, was included in the Haven exhibition because of the interaction of humanity and environment, while also dealing with technology. The phone booths enclose the user like a shrine to communication.

The shining exterior of the booths contributes to the idea that this portal

has religious undertones.

Much of Estes’ work is concerned with depicting city life.17 The use of reflections is frequent to explore the urban landscape in his work.18 The city works well as subject matter for part of this exhibition because of it’s ability to bring copious amounts of people together while simultaneously alienating people from one another.

According to Beuys’ own legend, as a pilot during World War II he crash landed in the German wilderness and was rescued by Tartars who found him and nursed him back to health from the wreck.19 The materials they used to allegedly do this appeared in his work repeatedly during his lifetime.20 The Sled is an example of the use of the materials as an art object.

The sled provides a transportation device for the felt and lard that the tribe used on Beuys to keep him warm in the cold and heal his wounds.21 All the materials present communicate the message of survival which was important to Beuys’ work as a German

in worn-down post-war Europe.22 The work was chosen to be a part of the exhibition because of its need to be interacted with to serve a purpose.

Conceptual art like this often required an interaction element, but it can also function solely as art.23 The items are meant for an individual continuing the tone of alienation that continues throughout the exhibition. The legend Beuys based his work on also follows the idea of questioning what is real, as has been discussed in the feature Gillespie piece as well as the Kanovitz work.

The Sled Joseph Beuys 1969 13 7/8 x 35 5/8 x 13 5/8 sled of wood and metal with felt, cloth straps, flashlight, wax, cord Museum of Modern Art

Still Life with Squash and Rutabagas Gregory Gillespie 1975 50 1/4 x 41 1/8 in oil and magna on plywood Smithsonian Hirshhorn Museum and Sculpture Garden

24. Oriel Farb and Gregory Gillespie, “Self-Portraits: Gregory Gillespie,” The Massachusetts Review (1978) 129-140.

25. Roberta Smith, The New York Times, April 29, 2000, accessed March 17, 2012, www.nytimes.com/2000/04/29/arts/gregory-gillespie-64-anunflinching-painter.html.

26. Adelson, Fred B. Adelson, “Revealing the Strength of Segal as Sculptor and Draftsman.” New York Times, May 7, 2000, 16.

27. Allison McCartney, “Make the Most of Your Summer Day at the Newark Museum,” nj.com, July 3, 2008, accessed April 21, 2012, www.nj.com/ newark/newarkmuseum/index.ssf/2008/07/make_the_most_of_your_ summer_d.htm.

This second work by Gillespie was included in the show because it is one of his better-known genres of work.

His body of work is mainly made up of portraiture, and a large majority of that focusing on the self; Gillespie also explored the idea of still life work which makes the featured piece of the exhibition even more intriguing because it does not really fit into the portrait or still life genre.24 This piece is more traditional, though the influence of abstract expressionism is still present through his choice of materials. The canvas’ surface is plywood. The composition is crude like the material it is painted on. The short

table slices at an angle through the center of the canvas with the vegetables laid out on an obscured triangle on a piece of brown paper as if someone has just dumped it from the nearby card board box and walked away.

The painting was included because it reinforces Gillespie’s influences of abstract expressionism, photo-realism, and surrealism—because of the nonfunctional low-sitting table.25 It would create issues for a average-sized human to use it in any productive way.

The piece also shows his mastery of technique that the human-less work is so filled with a presence through the disheveled corner.

Toll Booth Collector George Segal 1980 bronze and glass The Newark Museum

George Segal is known for his white figures placed in real environments.26 This work commissioned from Segal gives an interesting perspective into a mundane profession.27 The Toll Booth Collector is permanently confined to his roadside box waiting on a car to come pay its dues. The work is melancholy and conveys a strong message of alienation from the world both physically and psychologically.

Though, the work has been made in 1980, its commentary has evolved into a commentary of man versus technology.

Many toll booth collectors are being replaced by collection machines that execute the task quicker, more

accurately, and at a much more costeffective rate. The sculpture therefore is gaining a nostalgic quality that combats the loneliness of the man in the box.

This piece was chosen to be part of the exhibition because of it’s dynamic message of alienation while also exploring humanity in functioning in an environment being overrun by technology.

F-111 James Rosenquist 1964-65 10 x 86 ft oil on canvas with aluminum Museum of Modern Art

As the largest work of the Pop Art movement, Rosenquist’s F-111 “is thirteen feet longer than the airplane it memorializes.”28 The massive size of the painting reflects what Rosenquist calls America’s “economy of surplus” as well as his background as a billboard painter in the 1950s.29 The work is full of juxtapositions of violent imagery of war and docile by comparison, images of American consumer culture. One of the most pronounced images in the painting is the girl under the hair dyer, though the metallic object hovering above her head could also be interpreted as a helmet being lowered onto her head as she

prepares for flight.

“Rosenquist generally spikes that style with disorienting fractures and recombinations of images. F-111 becomes still more overwhelming through its particularly enormous size and panoramic shape: it is designed to fill the four walls of a room, engulfing and surrounding the viewer—unlike a billboard, which, despite its magnitude, can be viewed all at once...Painted during the Vietnam War, F-111 draws disturbing connections between militarism and the consumerist structure of the American economy.”30

28. Henry Geldzahler, “James Rosenquist’s F-111.” The Metropolitan Museum of Art Bulletin 26, (1968): 280.

29. Ibid.

30. “F-11,” MoMA, accessed April 17, 2012, http://www.moma.org/collection/object.php?object_id=79805.

METHODS

This exhibition was designed around Gregory Gillespie’s piece The Hall Corner: Graves House (Interior with Hanging Picture).

The work is filled with iconography of domesticity during wartime, which is also part of the social art history approach as well. Both social art history and iconography went into the selection of the ten other works within the exhibition.

The pieces were chosen within the same fourty-year window of time during the second half of the Twentieth century when the art world was feeling the reverberations of the radical movements of the mid-century. The earliest piece is Rauschenberg’s combine, Bed, dated 1955.31 The latest work is Louise Bourgeois’ Cell (Hands and Mirror), dated 1995.32 Though these works are four decades apart, there is a strong visual connection between the works. It is clear that Borgeois’ work is influenced by Rauschenberg’s combines33 which have evolved into a freestanding structure separate from the wall, but still consisting of found objects mixed with the artist’s own creations.

The exhibition is a network of linking influences that can be tied from a piece to another piece using art movements, iconography, or historical influences. The main theories that pushed the selection process were “Art and Meaning: The Problem of Meaning in Early Chinese Ritual Bronzes”

by Sarah Allen34 and “On the Social History of

Art” by T.J. Clark.35 Working with iconography and social art history simultaneously seems to be a natural approach to curating an exhibit. Iconography has a contextual element that sometimes allows it to become nonfunctional in the discourse of a culture. Looking for clues to the meaning of the iconography in a work relates to what was happening at the time to influence the choice of icon needed during the decision-making duration of the work, because none of these pieces are history paintings or sculptures.

All of these pieces use their temporal relevancy in congruence with iconographic portrayals to explore the interactions between humans and their surroundings, including familiar and intimate settings of the home and its interiors. By using this idea as the overall theme for the work with an approach of iconography working with historical context the exhibit was able to be built to showcase the context of interiors.

The word haven was chosen as the title for the exhibition because of its connotation of being a safe interior area, yet while also questioning the idea of safe and exploring the contrast of works that had a darker undertone than of what is at the surface. Alienation came into play at this point, allowing humanless interiors to be a signifer of the loneliness felt by those who are trapped inside a metaphorical interior. This idea worked well

when examining the social art histories of the works because they were all created during a time of war in America, and though those wars were fought abroad, the works explore the impact on the home front and how alienation and paranoia were used to create a unified nation behind a cause.

31. Rauschenberg, Robert. Bed. Museum of Modern Art, New York.

32. Bourgeois, Louise. Cell (Hands and Mirror). The Institute of Contemporary Art Boston, Boston.

33. Jerry Saltz, “Our Picasso?,” The Village Voice, January 17, 2006, 79.

34. Sarah Allan “Art and Meaning,” in The Problem of Meaning in Early Chinese Ritual Bronzes: Colloquies on Art & Archaeology in Asia No. 15, ed. Roderick Whitfield. (London: Regal Litho, Dunstable, 1993), 9-32.

35. T. J. Clark, Image of the People: Gustave Courbet and the 1848 Revolution (New York: University of California Press, 1999), 9-20.

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