INTERPLAY
MECHANICAL OBJECTS
I N T E R P L AY MECHANICAL OBJECTS
Covers: Gary Schott, Eskimo Kisser: Duet #1, 2012
INTERPLAY: MECHANICAL OBJECTS SEPTEMBER 6 - NOVEMBER 25, 2012 Southwest School of Art
The Southwest School of Art is a recognized leader in visual arts education, offering on-campus classes and workshops for more than 4,000 adults, children and teens each year, taught in state-of-the-art studios located in downtown San Antonio. During its 47-year history, the art school has also offered free Saturday art classes for children and families and mobilized artists to teach the visual arts in San Antonio schools and social service centers. In addition to its teaching mission, the art school consistently brings provocative and engaging exhibitions to San Antonio. In the fall of 2013, the Southwest School of Art will become Texas’ only independent college of art by adding a Bachelors of Fine Arts degree program.
I N T E R P L AY MECHANICAL OBJECTS
FOREWORD Inspiration for InterPlay: Mechanical Objects began with the work of Gary Schott, the Southwest School of Art Metals Department Chair. Schott creates intricate and humorous sculptural works that rely upon participation, evident in the gallery with his almost intimate works. This balance of interactivity and levity formed the basis for our curatorial research and the result includes artists from across the United States of America and Great Britain. All of the artworks within InterPlay: Mechanical Objects contain a participatory co mpo n e nt e m powe r i ng yo u t o n o t ju st appreciate the aesthetic beauty of the objects, but to fully experience it through touch. These one of a kind objects incorporate many mediums, including metal, wood, clay, and found objects and utilize many methods of operation, from simple buttons and cranks to highly complex engineered mechanisms. I encourage you to revel in the construction, beauty and creativity, but mostly to PLAY.
Kathy Armstrong
Director of Exhibitions
INTERPLAY: MECHANICAL OBJECTS SEPTEMBER 6 - NOVEMBER 25, 2012 Southwest School of Art
ARTISTS 9
Alexis Archibald
10
Steve Brudniak
11
Benjamin Cowden
13
Kevin Curry
14
Nathan Dube
16
Forrest Sincoff Gard
18
LAIKINGLAND CO.
19
Keith Newstead
20
Miel-Margarita Paredes
21
Gary Schott
23
Martin Smith
Pag e s
Reflecting on the Precursers to InterPlay: Mechanical Objects By Katherine Marquette
InterPlay: Mechanical Objects is a
departure from the typical gallery exhibition. Dubbed the “White Cube” by Brian O’Doherty in the 1970’s on account of their austere and vacuous spaces, galleries of the time and still today provide opportunities for viewers to commune with art in neutral settings. Sight has always been the de-facto sense welcomed in this communion and galleries have historically enforced policies against touching the artworks. Conventional gallery practice imposes a certain minimum distance between art object and viewer. From the earliest of planning stages, InterPlay: Mechanical Objects was organized to break with traditional gallery decorum and give visitors the opportunity to engage physically with the works of art on display. Advocates and practitioners of the craft arts may argue that allowing people to engage one on one with hand-made objects is less than a revolutionary idea. After all, that precise goal has been at the center of their work since the dawn of the Industrial Revolution. That said, in most gallery spaces, physical interaction with objects remains to some extent taboo.
In the Western world, a set of complicated theories surround artists, their materials and methods. Theory has served an important role in shaping modern attitudes towards art. One positive consequence of this has been the ability to imbue objects with an other-worldly quality, deserving of reverence. Almost like an invisible shield, this sanctification is both reinforced by and responsible for the “handsoff” mentality cultivated within the gallery space. On the negative side, it can serve as a wedge, driving away those who have limited experience in the arts and/or just find such metaphysics unnecessary or pretentious. InterPlay: Mechanical Objects pushes the boundaries of what we expect of art, the artist/viewer relationship, and the purpose and function of the gallery space. For most of its history, art viewing has been perceived as a passive activity. Art was simply envisioned as something which hung on the wall or placed on a pedestal to be appreciated and admired. For centuries, this one-sided relationship and one-dimensional view of the utility of art prevailed, until a steady stream of artists began to chip away at such archaic conventions. Marcel Duchamp was one of the first modern artists to extricate art from the service of aesthetic beauty. Though often associated with movements such as Dada and Surrealism, Duchamp refused to pledge allegiance to any particular movement during his lifetime. Despite this, he is often credited as the father of Conceptual Art. In describing his philosophy, Duchamp said, “I was interested in ideas, not in visual products.”
Forrest Sincoff Gard Wall Maze, 2011
In 1913, Duchamp created Bicycle Wheel, consisting of a bicycle fork mounted atop a stool. This was the artist’s first “ready-made”, a term he coined to describe banal objects taken from everyday life which he elevated to fine art status. More importantly, however, Bicycle Wheel is generally acknowledged to be the first kinetic work of art. Employing a fair amount of humor, his provocative works raised important aesthetic questions such as: “What is Art?” and “Who determines its definition?..Is it artist or scholar?” With Bicycle Wheel, Duchamp not only challenged the establishment, but he led the way for future generations of artists including those featured in this exhibition, including an enterprising engineer turned artist hot on his heels.
Although Duchamp may have created the first piece of kinetic sculpture, it was his friend Alexander Calder who took these ideas to the next level. Calder is best known for his “mobiles” (ironically enough another term coined by Duchamp). However, before Calder became famous for this invention, he was busy laying the foundations for interactive and performance art with his piece Circus which debuted in 1926. Born into a family of artists (Calder’s mother was a painter and his father a sculptor), Calder trained as an engineer (no doubt skills he put to use in constructing his perfectly balanced kinetic constellations), though he quickly changed directions. Determined to pursue art as a full-time career, he moved to New York.
Benjamin Cowden It’s the Things You Can’t Change That Shape You, 2009
In 1925, while working as an illustrator for the National Police Gazette, he was sent to the Ringling Brothers and Barnum and Bailey Circuses. These experiences had a significant impact on the artist, inspiring him to create his own miniature, portable circus. Calder constructed elements from wood, cardboard, paper, yarn, leather, rhinestones, buttons, and wire. Packed into suitcases, he took his show on the road and performed his circus act for an impressive number of years (from 1926 until 1931), before the work ultimately found its way into the permanent collection of the Whitney Museum of American Art. Though Calder stopped short of allowing other people to interact with his creation, Circus required participation to make it fully come to life. In an address to the 1957 American Federation of Arts’ convention held in Houston, Duchamp levied: “The creative act is not formed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.” Six decades later, Duchamp’s wisdom still rings true—especially in the context of this exhibition. Gallery visitors to InterPlay: Mechanical Objects are invited to engage not just with the aesthetic beauty
of the objects but to contribute to the complete achievement of the artists’ vision. Because works included in InterPlay: Mechanical Objects must be interacted with in order to be fully realized, this exhibition opens an interesting dialog between artist and viewer, placing viewers into the essential role of collaborator. An important inspiration for many of the artists included in InterPlay: Mechanical Objects is automata. Defined as self-operating machines, automata has a history dating as far back the second or third century BC. Known as the “father of pneumatics,” Ctesibius, was a mathematician and inventor active in Alexandria, Egypt from 285-222 BC. Though none of Ctesibius’ writings survived, we are aware of his groundbreaking and innovative contributions (such as improvements he made to the clepsydra, a self-regulating clock) through those such as Hero of Alexandria (1070 AD). Hero is perhaps best known for his aeolipile machine, which demonstrated heat’s ability to cause gas to expand. Harnessing this force in a creative way, Hero’s aeolipile model routed the escaping gas through a controlled set of channels, thereby causing a turntable to spin. The triumphs of these early scientists and engineers are only part of the legacy of Hellenistic civilization,
which were equally matched by those involved in the preforming and visual arts. Taking into account the painstaking efforts the ancient Greek sculptors took in faithfully reproducing the likeness of human form in marble and bronze, a logical next step would seem to be to move these hyper-realistic sculptures into the realm of the animated. While there are accounts claiming that such automata could be found in the Hellenistic world in the form of toys and religious idols, hard evidence is scant with no known examples surviving today. Fifteen centuries later, participants of the Renaissance were mesmerized by the knowledgeand achievements of the ancient Greeks, to understand and replicate their scientific and artistic excellence. During the sixteenth century, Hero’s writings were published for the first time in Latin. This rediscovery prompted a resurgence in the popularity of automata, which had been neglected during the Middle Ages, as the idea of man aspiring to create another man was perceived as blasphemous and thus viewed with hostility. Despite this fact, however, automata had already begun insinuating itself onto the facades of many of Europe’s cathedrals as early as the 1300’s, with mechanical figures signaling the changing of the hour with the strike of a hammer. These monumental elements eventually transitioned their way into small, stand-alone objects collected by the upper echelons of society. The so-called “Golden Age of Automata” spanned from the mid-1800’s to the early 1900’s. Like the animated clocks in the fourteenth century European plazas, Automata featured
in store front windows attracted visitors and passers-by to stop and congregate in wonderment. Starting out small in scale, these machines grew exponentially to fill the windows of the newly crowned department stores. Historically constructed by the most highly skilled goldsmiths and clockmakers, Automata construction was extremely complex. With the First World War on the horizon, this level of engineering prowess was in short supply and the art form began its downfall. Additionally, being that these were selfcontained machines, there were limits to the duration of time they were capable of operating, especially at a time when electricity was becoming ubiquitous and “on” and “off” could be controlled instantly with the flip of a switch. Finally, a series of unfavorable import/export laws levied by the United States and France prohibited the trade of the highest quality mechanical toys, decimating the market for Automata and marking the decline of this creative and impeccably crafted art form. Though the Golden Age of Automata has come and gone, there has been a measureable resurgence of interest surrounding the topic. Martin Scorsese’s 2011 film, Hugo, featured prominently an automaton human in appearance and capable of drawing several pictures. The Hugo automaton closely resembles “Draftsman-Writer” created by the famous, 18th century automation designer, Henri Maillardet’s, which can be found in the Franklin Institute Science Museum located in Philadelphia, Pennsylvania. Another interesting example of automata can be found in the Smithsonian Institute of American History
in Washington D.C. is a 14th century praying monk which was commissioned by King Phillip II in 1562. Both Maillardet’s masterpiece and the monk attributed to Juanelo Turrsano have recently enjoyed the spotlight in main-stream media including being featured in an episode in History Channel’s Mysteries at the Museum and on NPR’s RadioLab. Just as Renaissance artists admired the achievements of Greek civilization and looked to their inventions for inspiration—similarly, the steam powered world of the Victorian era has its own unique draw for a group called “Steampunks.” Though the movement did not find a name until the 1980’s, its underpinnings were established in the 1960’s and 70’s. On television, the popularity of CBS’s The Wild Wild West (1965-1969) is seen by some as a mainstream pre-cursor to Steampunk. In literature, authors such as Ronald Clark of Queen Victoria’s Bomb (1967) and Harry Harrison of A Transatlantic Tunnel, Hurrah! (1973) set the stage for future writers like: Tim Powers, James Blaylock, and K.W. Jeter. Though an interest in steam powered technologies is quintessential to the movement, fantasy and science fiction are also important elements. The scope of this subculture has evolved over time attracting the participation of fashion designers and artists. In addition to being meticulously crafted like automota, the steampunk art works also often contain interactive components requiring a significant amount of engineering and precision. In 2009, The Museum of the History of Science at the University of Oxford in England opened Steampunk, the first show dedicated to the topic
which garnered wide attention. Following this exhibition, the curator, Art Donovan, published the seminal book on the subject, The Art of Steampunk: Extraordinary Devices and Ingenious Contraptions from the Leading Artists of Steampunk (2011). Clearly, InterPlay: Mechanical Objects is only possible because of the ingenuity of a myriad of artists and inspiring innovators, only a few of which could be mentioned here. Indeed all artists owe a debt of gratitude to Marcel Duchamp for widening the definition of art and for putting it into motion. Without the whimsical and pioneering performances of Alexander Calder’s Circus, the art world might never have recognized art as having the capacity to be interactive or to exist outside of an object. As mentioned earlier, the intent of InterPlay: Mechanical Objects is to offer a different gallery experience. Yet, as illustrated by Automata and Steampunk, these works exist within a distinct canon. These original and innovative works carry with them an experience—an experience which has the potential to change how art is perceived.
Gary Schott Eskimo Kisser no.4, 2011
ALEXIS ARCHIBALD
Born: Pittsburgh, Pennsylvania; 1982 Resides: San Diego, California Alexis Archibald is an artist, art educator and native of Pittsburgh, PA. She received her BFA with a concentration in metalsmithing from Edinboro University of Pennsylvania in 2004 and recently completed her MFA at San Diego State University. Her work has been featured in exhibitions such as Art of the State: Pennsylvania at the State Museum of Pennsylvania and the Society of Sculptors Annual Show at Center of the Arts in Pittsburgh. Archibald has taught art in Pittsburgh high schools and currently teaches art in elementary schools in San Diego.
Myopic Whims - Feather, 2011
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STEVE BRUDNIAK
Born: Topeka, Kansas; 1961 Resides: Austin, Texas Steve Brudniak is best known for his finely crafted sculptures incorporating interactive scientific elements (such as Tesla coils, fiber optics, etc); however, finished pieces bear more resemblance to ritual objects or mechanical devices than to collage style assemblage. In 2008, his piece, Astrogeneris Mementos, traveled to outer space with collector and entrepreneur Richard Garriott. On Earth, Brudniak’s work can be found in the permanent collections of museums such as the San Antonio Museum of Art; El Paso Museum of Art; Museum of Fine Arts – Houston; and the Art Museum of South Texas – Corpus Christi. His artwork was also recently featured in the exhibitions A Gathering of Sculptors at Blue Star Contemporary Arts Center in San Antonio, 2011 Texas Sculpture Symposium in Tyler, TX, and in Steve Brudniak: Back from Samsara at the Austin Community College.
Instrument for the Administration of Penance, 1995 Vunderglas, 1985
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BENJAMIN COWDEN
Born: Seattle, Washington; 1977 Resides: Oakland, CA As an anthropology student in Cameroon, Benjamin Cowden’s interest in metal was ignited while studying how Baka Pygmies turned worn machetes into utility knives. He received his first formal training in metals at the John C. Campbell Folkschool in North Carolina where he attended blacksmithing workshops. From 2001 – 2003, Cowden was an Artist-in-Residence at the Appalachian Center for Crafts in Cookeville, Tennessee. Following this residency, he concentrated on making interactive, mechanical devices addressing human experience and earned his MFA from Southern Illinois University in 2007. Cowden continues to explore the depths of mechanical sculpture, most recently experimenting with 3-D printing in metal. His work has been exhibited in The New Steel at Delta Axis Gallery in Memphis, TN and Applied Kinetic Arts at Y2Y Gallery in San Francisco, CA.
A Pleated Horizon, 2012
11
Conjunction, 2008
KEVIN CURRY
Born: Mt. Kisco, NY; 1960 Resides: Tallahassee, Florida
Speech!, 2008
Kevin Curry received his BFA with a concentration in Graphic Communication from the Center for Creative Studies in Detroit, MI in 1983. He continued his education at Southern Illinois University, earning his MFA with a concentration in Sculpture in 2008. Curry has completed artist residencies at Plattefourm in Denver, CO; Art 342 in Ft. Collins, CO; and Lawndale Art Center in Houston, TX. In 2009, he received an “Idea-fund� grant from the Andy Warhol Foundation and a fellowship at Anderson Ranch Arts Center in Snowmass, CO in 2010. Curry recently relocated to Florida after accepting a teaching position at Florida State University at Tallahassee. His work has been included in such exhibitions as Home at the Griffith Gallery at Stephen F. Austin State University in Nacogdoches, TX and Disgruntled Developments at the Anya Tish Gallery in Houston, TX.
13
N AT H A N D U B E
Born: Austin, Texas; 1975 Resides: Houston, Texas Nathan Dube received his BFA from the University of Texas at Austin in 1998 and his MFA from Kent State University in Ohio in 2006. For the last year, he has been an Artist-in-Residence at the Houston Center for Contemporary Craft. His work has been exhibited both nationally and internationally in exhibitions such as On a Roll: Artists’ Toys at Craft Alliance in St. Louis, MO and La Mostra at Palozzo Vagnotti in Cortona, Italy. Dube’s artwork is included in the permanent collections of South Bend Regional Art Museum and is also featured in Brigitte Martin’s book, Humor in Craft. He currently teaches at Houston Community College and the Glassell School of Art.
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Pop, Pop, Pop!, 2012
Cannon, 2012
Smash!, 2012
FORREST SINCOFF GARD
Born: Athens, Ohio; 1987 Resides: Baton Rouge, Louisiana Forrest Sincoff Gard received his BFA from Ohio University in 2009. Following graduation, he completed an artist residency at Red Lodge Clay Center in Montana. From 2010-2011 he did postbaccalaureate work at the University of Florida in Gainesville. Currently he is pursuing his MFA in Ceramics at Louisiana State University. Gard’s art is influenced by the material properties of clay, functionality, fragility and play. Audience participation is an important facet of his work – as pieces are often not complete without some type of interaction by the viewer. His work was recently included in the NCECA National Student Juried Exhibition at University of South Florida in Tampa, FL and Currents: Past and Present at the Thomas Center Main Gallery in Gainesville, FL.
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Wall Maze, 2011
L A I K I N G L A N D CO.
Location: England and the Netherlands Artists exhibiting: Martin Smith, Freshwest, and Nik Ramage Laikingland was founded in 2008 by artist Martin Smith and engineer Nick Regan. It was developed around the notion that playfulness is something to beencouraged and incorporated into our everyday lives (“laik” meaning to play). To that end, the company specializes in producing limited edition works representative of the founders’ interests in humor, narrative and craftsmanship. The company works closely with invited artists and designers helping them to bring their kinetic ideas to fruition and in so doing creates beautifully crafted objects which strive to illicit a sense of fun and nostalgia.
Nick Ramage Fingers Mk II, 2012 Freshwest Miniature Lazy Chair, 2012
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KEITH NEWSTEAD
Born: Romford, Essex UK; 1956 Resides: Penryn, Cornwall UK Keith Newstead studied graphic design at Essex University. One day by chance, Newstead caught a TV program on automata and was immediately drawn to the incorporation of art, craft, graphics and movement. Shortly thereafter, he made his first automata piece and brought it to the Cabaret Mechanical Theatre, a shop in London which specialized in modern automata to sell. The piece sold in a matter of days, which provided him all the encouragement he needed to quit his job of 10 years in order to pursue a career as an artist full-time. Since then, Newstead has had tremendous success in the field of automata and is even included in Rodney Peppe’s comprehensive book on the topic, Automata and Mechanical Toys. He has collaborated with British cartoonist Ralph Stedman on three projects and is currently involved in Italian Director, Giuseppe Tornatore’s new movie, Best Offer.
Flying Frenchman, 2012 Pagasus, 2012
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M I E L - M A R G A R I TA PA R E D E S
Born: Suva, Fiji,1977 Resides: Portland, Oregon
Fledgling Toy, 2006
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Miel-Margarita Paredes received her BFA from California College of Arts and Crafts in Oakland, CA in 2000 and her MFA from the University of Wisconsin – Madison in 2006. Focused on examining the historical uses of ornamentation and animal imagery in the decorative arts, Paredes’ work has garnered her several awards, including grants from the Society of North American Goldsmiths, the Peter S. Reed Foundation and the Women’s Jewelry Association. Her work has been included in exhibitions such as CraftForms 2008 and CraftForms 2006 at Wayne Art Center in Pennsylvania and Devices for Improved Living at the John Michael Kohler Art Center in Sheboygan, Wisconsin. Images of her work have been published in Lark Book’s 500 Metal Vessels and 500 Enameled Objects. She currently works at Laika Entertainment, a stop-motion animation studio, where she makes metal skeletons which allow puppets to come to life.
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GARY SCHOTT
Born: Green Bay, Wisconsin; 1980 Resides: San Antonio, Texas Gary Schott is the Chair of the Metals Department at the Southwest School of Art. He received a BFA from the University of Wisconsin-Stout and a MFA from the University of Illinois at Urbana-Champaign. His work has been featured in such exhibitions as Exhibition in Motion at the Bellevue Arts Museum in Seattle, WA, and Craft Texas at the Houston Center for Contemporary Craft. He has received a number accolades for his work, including the 2009 Leap Award, presented to him by the Society for Contemporary Craft. Recently Schott’s art was published in Brigitte Martin’s book, Humor in Craft. His pieces have been characterized as an exploration of moments of human interaction through sculptural and mechanical forms and interactive jewelry.
Eskimo Kisser: Duet #2, 2012
Laikingland Co. Martin Smith The Heart Machine, 2011
MARTIN SMITH
Born: Hannover, Germany; 1972 Resides: Huddersfield, West Yorkshire UK Martin Smith has 17 years experience as a practicing artist with work ranging from small kinetic devices to large-scale gallery commissions and architectural interventions. He is also the Art Director of Laikingland where he oversees the design selection process, curates the product range, and collaborates at the concept stage with each artist and designer. Through his vast experience of surprising yet elegant mechanisms, he influences both the movement of the kinetic objects and the direction of the Laikingland brand. Smith’s work has been featured in exhibitions such as Object Abuse at KK Outlet and Handcrafted in Britain at The Conran Shop in London, England.
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Bird Bellow Whistle, 2012
The Party Popper Machine, 2010
EXHIBITION CHECKLIST Alexis Archibald Myopic Whims - feather, 2011
Copper, wool, steel, wood, feather. 3’x2.5’x6’
Induce Palpitation, 2012
Steel, copper, rubber, latex, wax 6”x12”x16”
Steve Brudniak Instrument for the Administration of Penance, 1995
Assemblage with electric spark discharge 28”x28”x10” Courtesy of Dr. Donovan & Catarina Sigerfoos
Vunderglas, 1985
Assemblage with spinning mirror, neon, strobe 32”x26”x6” Courtesy of Annalisa Peace
Model for a Tumultuous Subconscious, 1993 Assemblage with gyro 37”x20”x22”
Benjamin Cowden It’s the Things You Can’t Change That Shape You, 2012 Steel, brass, wood
Kevin Curry Speech!, 2008
Acrylic & PVC sheet, wood substructure, speakers, microphone, amplifier. 52” x 37” x 12”
Conjunction , 2008
Reclaimed neon letterform signs, weight activated switches 16” x 74” x 26”
Nathan Dube Cannon, 2010
Silver, brass, paper, blood press bulb, rubber tubing 8cm x 48cm x 8cm
Smash!, 2012
Copper, brass, vinyl tubing, cork 8cm. x 90cm. x 8cm.
Pop, Pop, Pop!, 2012
Brass, Plexiglas, cork, vellum 8cm. x 38cm. x 1cm.
Forrest Sincoff Gard Wall Maze, 2011
Porcelain, hardware, sand
EDITION 3/10
18”x14”x5”
LAIKINGLAND CO. - Nik Ramage
A Pleated Horizon, 2012
Cast aluminum resin, steel, motor
Steel, porcupine quills 72”x36”x4”
Manifold Ballast, 2009
Steel, Aluminum, brass, model train figure 16”x14”x5”
Fingers Mk II, 2012 ARTIST PROOF (A/P)
LAIKINGLAND CO. - Freshwest
Miniature Lazy Chair, 2010
Wood, acrylic polymer, silicone, steel EDITION 13/100
LAIKINGLAND CO. - Martin Smith
The Heart Machine, 2011
Powder coated steel base, brass heart, mechanism, silicone springs EDITION 13/100
Keith Newstead Captive Heart, 2012 Alumnium, wood 9”x4”x4”
Winged Heart, 2012 Alumnium, wood 9”x4”x4”
Dragon, 2012
Alumnium, wood 12”x10”x8”
Pegasus, 2012
Alumnium, wood 11”x10”x8”
Flying Frenchman, 2012 Mixed media 16”x19”x12”
Courtesy of Joe Blank
Miel-Margarita Paredes Fledgling Toy, 2006 Pewter, copper, brass 7” x 12” x 9”
Gary Schott Eskimo Kisser: Duet #1, 2012
Aluminum, bronze, brass, wood, paint, patina. 10” x 40”x 8”
Keith Newstead Dragon, 2012
Eskimo Kisser: Duet #2, 2012
Aluminum, bronze, brass, wood, paint, patina. 10” x 40”x 8”
Martin Smith The Party Popper Machine, 2010 Powder coated steel, brass, motor, button, party poppers.
Applause Machine, 2010
Powdered coated steel, brass, wood, plastic, motor. EDITIONS IN CURRENT RED, SIGNAL GREEN AND CONSTRUCTION YELLOW
Bird Bellow Whistle, 2012
Steel, brass, fabric, motor, custom electrics, feather
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