I am very honored to have my work acquired by the historic Sun Valley Lodge as part of their permanent collection. The work hangs in the Duchin Room, the lodges famous bar, where I have shared many a drink with friends over 35 years. Much thanks to Gail Severn Gallery who assisted the Lodge in placement of art.
Filtering by Tag: Judith kindler art
Kindler melds together seamlessly - photography, digital constructions, paintings with many different medias and objects, both found and constructed. The use of technology in contemporary art has been heralded by Curators and Museums as "a watershed moment in the entire field of contemporary art, one which will bring new, previously unimagined forms of artistic expression as well as new possibilities for more established forms." Here are some comments from The Whitney and SF Museum of Modern Art curators on the value and importance of its use in contemporary art:
Lawrence Rinder, the Whitney Museum of American Art's Curator of Contemporary Art, writes in his essay Art in the Digital Age (BitStreams): "Digital technology has become the ultimate tool for capturing the nuances of the unreal. Artists have taken advantage of their unprecedented control over sensation and information to produce works that challenge our everyday perceptions of color, form, sound, space and time… Digital technologies are contributing to the sense that the boundaries between the organic and inorganic, the known and unknown, the real and unreal, are being blurred beyond recognition."
Today's artists may be employing new technologies to reflect contemporary issues, but the purpose is the same as it has always been: to engage and, at the same time, transcend the social context in which they live. Quite simply, artists working with digital media are just utilizing another medium for expression while observing our contemporary context and the ramifications that the increasing digitization of day-to-day life has on our society.
Rinser of the Whitney notes: "Artists can now create seamless chimeras that resonate with contemporary anxieties about the instability of perception and even life itself in this age of virtual reality and genetic engineering. BitStreams (Whitney Museum of American Art, 22 March - 10 June 2001) explored the Digital Age not as something external to us, residing solely in technological objects or in a kind of 'techno' style, but rather as a constellation of physical, emotional and cognitive phenomena which have transformed aspects of human experience."
Through their common use of digital software, photography, film, video, installation, sculpture, and sound, have developed closer connections, inspiring fascinating crossovers among the media. According to the Whitney's Rinder: "Previously distinct media such as photography, video, and film are merging as artists from diverse disciplines turn to digital media to extend the boundaries of their work. This is a watershed moment in the entire field of contemporary art, one which will bring new, previously unimagined forms of artistic expression as well as new possibilities for more established forms."
San Francisco Museum of Modern Art (SFMOMA) media arts curatorial associate, Kathleen Forde's opinion is: "The most groundbreaking effect that digital technology has had on art practice is the hybridization that has occurred in art forms. There is now a common ground -- that of digitisation -- shared between and among art forms which blurs the line of what traditional media once was. Music, sound, painting, sculpture, design, architecture, live arts, online work, time-based media, are conflating, merging into one blurry landscape of a media that cannot be defined in simple terms."
A Little Piece of the Sky, Judith Kindler, 2014, Mixed Media embedded in Resin on three panels.
Works in mixed media embedded in resin are featured in this exhibition energized by Judith Kindler story telling. On exhibit August 29-Sept 30.
(c) 2014 Judith Kindler
I have thought a lot lately about the subject of identifying overarching trends in American art. The discussion has emerged because of exhibitions like The State of the Art exhibition that opens in September at Crystal Bridges Museum and other group discussions I have had in the arts. Is it important to understand trends when we are emmersed in them or is it something that should be purely left up to the curators, writers and historians to decipher?
As an artist, i tend to be more aware of the reasons I might choose to do certain work than an awareness of any overarching trend. I think artists in general are more excited by the diverse medias available to the creative experience and what they can do with them, then trying to intellectualize an attitude or ideology like in the past modern era of dadaism, minimalism, pop, etc. I see this incredible phenomnea that is more about the evolution of art into a form that goes so far beyond a nuance of how a brush stroke is placed on a canvas or subject of a solitary object of art.
Of course my work has always been about story telling at its core. The human experience and the psychological all play deeply in my oeuvre. The expression has always been through multi - media. But rather than try to articulate where my work falls within any overarching directions in visual arts today, I would prefer to leave that to the curators and historians. (Assuming they would even have an interest).
So, setting my art aside, I decided to take a stab at identifying the contemporary art movements over my lifespan in a straight forward way without all the "artspeak" and without classifying through "isms". I am doing this purely out of curiosity and just to get the conversation going and to see what others perceive. I would love to hear your thoughts regarding this.
My pics for Overarching Trends are:
1. Experiential - Multi media, that is combining the tremendous creative opportunities afforded by diverse medias from technology (think selfies) to the use of tech in producing, exhibiting and experiencing art), to moving art like film, performance or projected imagery, moving inflated rubber, levitating hyper real bodies, to light and sound as a sole or critical media. All expand the viewers "experience" and engagement with a work of art. Perhaps the ultimate in installation art. The more senses involved in experiencing art, the greater the impact.
2. Visceral - works that focus on either the sociological or individual psychological or nonlogical experience of the world. Different from the pop culture art, it is more subtle, a matured exploration into the psyche and emotional reaction to the world. A more visceral allure to a work of art is manifested whether through abstraction, representation or the stark realism of, for example, conjoined or distorted body parts or figures. From work like Francis Bacon to Marc Sijan's hyper real aged figures, this trend touches our emotions and focuses on the human experience.
3. Organic - through diverse media artists recreate in small scales to grand installations - interpretations and abstractions of nature. (Not to be confused with landscape painting). Artists like John Grady's installations distill a sense of organic into atypical form.
4. Explosive and Exploitative - bigger is better, manufactured scale, with the main tenant to push the limits (Think Koons, China contemporary art) not just one figure, but 20 figures, not just polisbed but super shiney....everything is expressed at a max in size, in finish, in numbers.
5. Nostalgia - A trend for artists to reference previous periods of time or ideals in art like LA retro or through direct appropriation. Less about historical referencing and more about a nostalgic appeal of a previous time or place, this art disconnects from the moment and presents an idealistic vision of a yearned for time.
6. Recycle it - probably this is the most ideological of them all because it references the entire sustainability, footprint issue prevalent in society today. Do we add to the consumerism or do we reject it? Do we allow our art to be just another consumable or do we reject the very idea, turn off all the lights and imagine standing in front of a work of art? The idea might be approached directly through recycling all the media used in the production of a work, or conceptually through, for example, conservation of energy and production. The latter, the antithisis of number 4.
7. No Good for Nothin - Dis-Function, No meaning, no purpose, no use art. The devaluing of what is useful, the obliteration of an idea or object. Whether carpet bombing everything, to producing a wonderful work of art and then covering it up, shrouding it so it can never really be seen in whole or part, this trend is constantly questioning the value, our values, through taking seeming value away.
Let me know your thoughts and please add to the list.
The idea that we peer out windows and doors watching, viewing yet not being seen ourselves intrigues me. That is the feeling in this new body of work. Here is the first completed work in mixed media embedded in resin with hand crafted wooden window. Entitled "Virgin Land", each panel in this diptych is 24" x 60".