October 2012- THEEND unfinished and other stuff.

Things Not Seen Before- A Tribute to John Cage exhibited at Edison College through October 13th. Below is an image taken by Tony Palms of his work ( to the left ) and my drawing.

The Fungus Garden of Every Possibility on the right. Works by Tony Palms to the left. Photograph courtesy of Tony Palms

Concept drawing for "Page 136" proposal for "The End"

Concept drawing for "Page 136" resin cast with detritus suspended within.

During the month of October I developed a proposal for a project to be exhibited at Art Basel called "The End". This project is sponsored by the Miami-Dade Public Library, Celeste Network and curated by Gean Moreno. I did not complete the work on my proposal in time for the deadline but am very interested in creating this work anyway.
The piece generated for the proposal is called "Page 136" and is based on a paragraph I would often read over while growing up. The paragraph describes the end of the universe-

"For a long time, an almost interminable time, the fading galaxy will give out a little heat as its white dwarfs shine away their lives and become black dwarfs, unable to find further energy with which to light up their corners of the cosmos. Together with their equally invisible companions, they will rest in space forever- unless, or until, they are swept into the greatest black hole of all, one created by the collapse of the universe itself"
From The Universe, David Bergamini and the editors of TIME-LIFE BOOKS


"Page 136" would be a sculptural work that would appear as a pedestal with a gridded top leading to a central hole. A camera mounted on the edge of the pedestal would be activated by an IR light barrier so that anything entering the hole will have a snap shot taken of it. The internal space of the pedestal would be a spherical mold. People would be encouraged to use the sculpture to throw away things that are useless to them. In the end the piece would generate a group of images of the items just as they enter the opening- frozen forever on the event horizon. At the end of the project's presentation waterclear resin would be poured into the mold producing a sphere of all the items trapped within it.

Maybe a project for the next doomsday.

September 2012

   An update and a flashback for September 2012. In January of this year I participated in the exhibition "Things Not Seen Before- A Tribute to John Cage" at Tempus Projects. The work that I exhibited was titled "The Fungus Garden of Every Possibility"
   "The Fungus Garden of Every Possibility"consists of 1. a drawing of 64 mushrooms, each with one of the 64 hexagrams from the I-Ching 2. A table with 64 sculpted mushrooms, each with one of the 64 hexagrams from the I-Ching 3. A dart and 4. A marker.
The visitors to Tempus Projects were able to throw the dart at the drawing, thereby picking a mushroom (if they actually hit one) and take away the corresponding sculpture from the table. The participants were also expected to sign or initial the mushroom they hit on the drawing.

The Fungus Garden of Every Possibility before darts and signatures.

The Fungus garden of Every Possibility with dart holes and signatures

The Fungus Garden of Every Possibility- mushroom sculptures waiting to be harvested.

"The Fungus Garden of Every Possibility" is also being shown at the Bob Rauschenburg Gallery from August 24th- October 13th 2012 although the version being exhibited is a new drawing with the 64 mushrooms with the 64 hexagrams.

   Also recently two of my Nazar multiples were shown at the Ybor City Hillsborough Community College Art Gallery. They were both hung from the ceiling at the gallery entrance to protect the space during a tribute exhibition to Steve Holm and Jerry Meatyard.

Nazars made specifically for Steve Holm (left) and Jerry Meatyard (right)

Orlando's magnetic and confusing personality

Orlando Florida has for years trumped many other FL towns in it's ability to pull in tourists ( state, national and international). The lure of this enchanted area is on several levels understandable and then on other levels quite mysterious and even dangerous to those who visit. Yes, there is a poison apple or two. Home to numerous theme parks (as varied as Disneyland, Universal Studios, Sea World and The Holy Land Experience) Orlando never ceases to expand the attractions available to the adventurous tourist. As a connoisseur of the underbelly of this town( working as a scenic artist ) I gravitate towards the run down remains of would be money makers that rot on highways such as I192. Here is a sample of one early evening's drive to a Home Depot on 192 to stock up on brushes for a mural project.

This one really puzzled me. The Home Depot parking lot is patterned with these black marks, like scales. Someone took some time to do this and I initially wondered what it was about. I realized that this was a patch job for cracks in the concrete. Maybe they had overstock in the patching material. Maybe there was a sink hole situation- who knows.

Highway 192 is full of old run down themed attractions and themed hotels. This is where you will find Medieval Times Restaraunt and the Capone Dinner show, Above is the mascot for the Gator Motel.

The run down sign that still stands outside the Gator shows that this used to be a themed attraction called Jungle World.

The Paradise Inn entices with painted missiles.

Close by the derelict put put golf coarse that shares the property with the abandoned Viking Motel.

The Viking is a large property and one can imagine it in its better days. How does such a large business get to this point without some change in ownership? It is like a ghost town. I wondered how many squatters must be in this place but kept my distance- I'm not that curious.

Another interesting thing about working in Orlando is the people who you meet. Everyone in the scenic industry has several different talents and scenic work usually just pays the bills. Here, Travis Martin displays some cast eyes for special effects work. Travis is a trained make-up artist turned muralist in Orlando's crazy stew of the scenic industry.

My next post on Orlando will be based on my search for another failed attraction, the Xanadu House of the Future, which I know was off of the very same HWY 192.

April 2012- 33-1/3, Indian ceremonial mound and scenes from Orlando

April 2012 has been a blur of constant work at Universal Studios Orlando, little side trips to Sarasota and a visit to the 33-1/3 installation at the Tampa Museum of Art. Between the bizarre tasks of troubleshooting  and touching up the floats for Universal Studios new street parade (like adding lead buckshot as ballast to fiberglas jellyfish) I made it out to Sarasota for a weekend trip with Kym O'Donnell. We stopped along the way at Madira Bickel Mound State Archeological Site near Bradenton finding our way there along Bayshore Dr. on Terra Ceia Island. This 20ft high ceremonial mound is about 170ft at its base and the state has put a wooden stairway to the cleared top which sports a fence to protect the mound itself from more foot traffic. This structure is dated at about 2000 years old and is very tranquil. It is, however, not remote. There is an incredible variety of homes around this site which are worth eyeing by themselves.

The top of the mound with Kym looking into the canopy (probably for ghosts). I found a very unusual manifestation at the top of the mound in the form of a tree.

We named it the "Lady Tree" I show it here inverted to get the sense of anatomy.

View of the path descending from the mound- strange and beautiful.

Recently we attended a Tampa Museum of Art "Art After Dark" event to get a glimpse of the 33-1/3 installation attributed to John Cage in use. The installation consists of multiple turn tables and a curated collection of records that are to be used by the audience to create a spontaneous overlapping of sound. The installation had been exhibited since January 29th 2012 and, at the time we viewed it, was to run through May 6th.

The record bins of this installation are filled with selections by invited personalities listed below

 Yoko Ono  Iggy Pop  Graham Nash  David Byrne (Talking Heads)  Bryan Ferry (Roxy Music) Jack White (The White Stripes) Lee Ranaldo (Sonic Youth) Richie Ramone (The Ramones) Jad Fair (Half-Japanese) Alex James (Blur) Meredith Monk Terry Allen Irwin Chusid Arto Lindsay (DNA & Lounge Lizards) Blixa Bargeld (Einsturzende Neubauten) Mike Kelley (Destroy All Monsters) S.A. Martinez (311) David Harrington (Kronos Quartet) Emil Schult (Kraftwerk) Pauline Oliveros The Residents Vito Acconci The Art Guys Martin Atkins (Public Image Ltd.) John Baldessari Matthew Barney William Wegman Christian Marclay Joan LaBarbara Ed Ruscha Jim Rosenquist

This created a very interesting curatorial layer to the project. The project was organized and curated by Jade Dellinger. The selections could have very well been acquired randomly at a thrift store ( I do not think that the installation has any requirements in way of the selection of the records available to the audience.). Curiously, there are statements by John Cage in interviews that he disapproved of recorded sound ( as a record ). One of these examples can be during a scene in a Peter Greenaway short based on John Cage called "4 American Composers: John Cage" which was, as one would gather from the title, one of four shorts based on Philip Glass, Meridith Monk, Robert Ashley and Cage. I believe it is quite clear that Cage's opposition to the record is based on recorded performances replacing the experience of listening to live performances of musical compositions. In a very direct way this artwork seems to invert the technology of record and record player to create a situation where there is no predictable outcome in the sonic menu and it is being produced and experienced in public by the audience.

My next post is all about Orlando....or mostly about Orlando.

It will be filled with confusing pop culture images like the one above and below but I will do my best to decode them.

January 27th 2012 and Final Night- Things Not Seen Before 2/4/2012

January 27th 2012- Outer wall of adjacent building to Tempus Projects acts as a screen for the projection of a live feed on the inside of the gallery space. This projection was a part of the 16mm film performance by Robbie Land(http://robbieland.net/) and caught here in the live feed curator Jade Dellinger speaks to artist Christian Marclay as he takes him through the exhibition. Robbie Land's set up can be seen in the upper left of the projection.

Artist/DJ Brian Taylor with Emil Schult and Christian Marclay during the January 27th event.( Image used with the permission of Ann-Eliza Musoke Taylor). Brian Taylor AKA DJ Brian Oblivion also added his signature to the Jan 27th evening with video and good old Disc Jockeying.

On February 4th 2012 the closing for Things Not Seen Before was presented to the public. From 7PM to 9PM performers executed interpretive compositions that focused on the exhibition. This project called "Wall Music" was a collaboration between Tempus Projects and the University of South Florida's School of Music Composition. It also featured a final composition by Ray Villadonga who is a Tampa based composer and the radio host of "Step Outside" (a WMNF weekly broadcast focused on experimental music).

The pieces created by students of music composition began promptly at 7pm with works broadly designed in instrumentation and approach. Some of the music was created with the combination of classical instruments and recorded sounds, some seemed more controlled and some quite cryptic ( like when four people stood in a tight ring with cell phone messages played audibly between each other)
Composers Susanna Hancock, Jeff Jackson, Evan Loyd, Scott Moore, Nate Corder, Armando Ayala, Pat Duke, Ekaterina Capatides/Vincent Euliano/Clayton Prather, Aaron Hutcheson, Marissa DiPronio and Aaron Lepley were the creators of the sound environment that a spectator found themselves in during the first hour and forty minutes of the evening.

Then came the final composition by Ray "rayzilla" Villadonga. This work included some of the most experimental and respected composers/musicians in the Tampa Bay area. Ray enlisted the cooperation of Tampa based composer Robert C. Constable Jr., Tampa based composer Paul Reller, musician James L. Hall, and musician LaRue Nichelson.
Robert C. Constable Jr. Conducts the composition "4X1 for Cage(A Quartet in Homage to John Cage)" with precision and grace!
Paul Reller performs with iPad and some vocals.

James L. Hall on bass trombone
Composer of "4X1 for Cage" Ray Villadonga on electric bass guitar. LaRue Nichelson also contributed electric guitar and some recorded sound.

Things not Seen Before

On January 14th Things Not Seen Before: A Tribute to John Cage opened at Tempus Projects in Tampa-

TAMPA, FL - In celebration of the 2012 centenary of experimental composer John Cage’s birth, Tempus Projects is proud to present “Things Not Seen Before: A Tribute to John Cage” a visual art exhibition organized by Independent Curator Jade Dellinger. Inspired by a line from a letter the curator (as a student – in the late 1980’s) received from the late, great composer concerning the work of Marcel Duchamp, Cage noted: “I am not interested in the names of movements but rather in seeing and making things not seen before.”

Presented in conjunction with “John Cage’s 33-1/3 – Performed by Audience” at the Tampa Museum of Art (also curated by Dellinger), “Things Not Seen Before” at Tempus Projects will premiere several vintage original artworks by John Cage – including a “Strings” series monotype, unique trial proof lithographs from his “Mushroom Book” (like those in the Permanent Collection of MoMA/New York), and mesostic manuscript pages for “Empty Words” that have never been previously exhibited.

Site-specific artworks by prominent local artists Joe Griffith and painter Theo Wujcik (who had the opportunity to photograph John Cage on a rare visit to Tampa) will be included with John Cage-related or –inspired video, sculptural objects, drawings and scores by Fluxus pioneers like Nam June Paik, Philip Corner, Giuseppe Chiari and Milan Knizak. Numerous other Cage collaborators, friends and acquaintances including Performance artist Laurie Anderson, ex-Talking Heads frontman David Byrne, The Art Guys, Christina Kubisch, Stephen Vitiello, Andrew Deutsch, Keith Edmier, Emil Schult of Kraftwerk-fame, filmmaker Roberta Friedman, Sonic Youth’s Lee Ranaldo and winner of the Golden Lion for Best Artist in the 2011 Venice Biennale, Christian Marclay will be featured and/or contributing “things not seen before” for the show at Tempus Projects.

According to Jade Dellinger, “The artworks will be positioned on the gallery walls by utilizing John Cage’s own (rather unorthodox) chance operations-based installation method, and, as several of the works on paper serve a dual-function as ‘graphic scores’, there remains the potential for musical interpretation of the artworks on exhibit. ” As the curator continues, “As his own practice made abundantly clear, I believe John Cage would have appreciated our modest tribute and this potential for 'things not heard before' too.”

Additionally, we are very grateful to Laura Kuhn, Executive Director of The John Cage Trust at Bard College, for her enthusiasm and support of both “Things Not Seen Before: A Tribute to John Cage” at Tempus Projects and “John Cage’s 33-1/3 – Performed by Audience” at the Tampa Museum of Art.

Additional special programing including musical preformances and works from Robbie Land at TEMPUS PROJECTS: TBA

For more information about the exhibition, please contact Jade Dellinger at Artsites@aol.com . For hours, directions or inquiries about Tempus Projects call or email Tracy Midulla Reller at 813.340.9056 or tempusprojects.art@gmail.com .

For more about the 2012 John Cage Centennial celebrations worldwide, please visit the official website of The John Cage Trust at JohnCage.org.

About the CURATOR:

Jade Dellinger is an Independent Curator collaborating regularly with the Contemporary Art Museum at the University of South Florida and the Tampa Museum of Art. In 1994, he invited artist Doug Aitken to present his first site-specific video installation "I'd Die for You" at the Pasco Art Center in Holiday, Florida. He curated Maurizio Cattelan’s U.S. museum debut "Choose Your Destination: How to Get a Museum-Paid Vacation" in 1995, and organized the collaborative "Keith Edmier & Evel Knievel" project in 1997 at the USF CAM. With USF CAM Director Margaret Miller, Dellinger co-curated "[re]mediation: The Digital in Contemporary American Printmaking" (the official U.S. participation in the 22nd International Biennal of Graphic Art in Ljubljana, Slovenia). In the interim, Dellinger has curated major solo museum shows for Allan McCollum, Lucy Orta, Atelier Van Lieshout, Carlos Amorales, Janaina Tschäpe, Keith Haring, Ann Hamilton & Andrew Deutsch, The Art Guys and others. He has contributed to numerous exhibition catalogues and publications including Flash Art International, Art Papers, Art Lies, Guitar Aficionado and Maurizio Cattelan’s Permanent Food, and co-authored the book, Are We Not Men? We Are DEVO! (SAF Publishing Ltd./UK, 2003/2008), which traces the history of the seminal 1980s New Wave band.

So goes the press release. This exhibition represents a small step for Jade Dellinger, who has been thoughtfully collecting/researching objects and art that blur the boundaries between sonic and visual art for years, and one giant leap for Tempus Projects. Here are a few images from the opening of the exhibition with a bit of commentary.

Installation view with Andrew Duetch's video array in the foreground and Christian Marclay's Wind Up Guitar in the background mounted to the wall.

The videos shown here are the same but being played out of sinc. The image is of John Cage reading some of his mesostic scripts with strange drawings/manipulations happening throughout the video. This work was a collaboration between Andrew Duetch and Cage that was first shown in the exhibition "Polyvectral Extentions" at the Florida Gulf Coast University Art Galleries in 2011.

The Wind Up Guitar by Christian Marclay. This is the same instrument (1 of 5 in existence) that was performed with during Marclay's incredible exhibition at The Witney Museum in NY,NY. You can see a youtube clip of Thurston Moore performing on this instrument at - http://www.youtube.com/watch?v=JgBzmXC8wnc

More images of the opening event. The artworks in this exhibition are so varied and historically significant that all I can suggest is that people get to Tempus projects before it comes down. There is programming through the run of the show including an event on January 27th and a closing event on February 4th both nights begin at 7pm.

My contribution to the exhibition is this sculpture and drawing that functions as a game of chance called "The Fungus Garden of Every Possibility" which I will dedicate a blog entry to in coming days.

New Year new sketchbook

2012 has arrived and a new sketchbook has begun. For the last 20 years or more I have kept a sketch journal with meticulous attention to dating every page. The only gap is the sketch book that was stolen from my truck in Houston TX in 2001 after an opening reception at Diverseworks (along with all my tools, my partner's cameras, and even the candy in the coin holder under the dash) Above is an image of a shelf in my "storage studio" showing many of these books. I thought to start out the new year with a few pages from the last sketch book.
Many of the pages are dedicated to experimenting with color overlays for paintings I am currently working on- like the page above.
The book is also filled with poetic imagery like the page above. During my commutes to Orlando this year I decided to keep myself awake while driving by doing blind drawings of faces, buildings and dreams. Below are two examples of such drawings. I really like them in that they have no control- they are sort of like acid drawings.

The last sketch book was a normal lined composition book just like the two sketch books before it ( most of the books are in blank "art" sketchbooks but lately I have been less precious about them) This sketch book also has a few contributions from artist Spanky Hudas done in an Orlando bar while we visited.