December 3, 2010 – January 31, 2011
Opening reception Friday, December 3, 2010, 7:00 – 11:00 pm
1745 “N” Street (at 18th Street) Lincoln, Nebraska
Parallax Space is pleased to announce the opening of their exhibition Tween: Painting, animation and some in betweens by Anne and Michael Burton to be held on Friday, December 3, 2010. Located in downtown Lincoln in a renovated former auto-body shop, this opening will be the first independent show for the gallery.
Tween is the first collaborative exhibition between Anne and Michael Burton, and will showcase their joint endeavor of photography, painting, and projected animation. The title Tween conjures up a variety of meanings: a reference to the images between key frames, which are used to create animation; a collaboration (be)tween the two artists; and a space (be)tween the individual aesthetics of both artists, where their creative voices are woven together.
Anne Ruehrmund Burton was born in Washington D.C. She earned her BFA from the University of Richmond in 2004, and her MFA from the University of Nebraska – Lincoln in 2008, under a Hixson Lied Fellowship. Anne has exhibited her paintings, prints, and installations both regionally and internationally, most recently in Fremont, Nebraska at the Gallery 92 West, in Nebraska City, Nebraska at the Kimmel Harding Nelson Gallery, and in Richmond, Virginia at the Cornerstone Gallery.
Michael Burton (www.burtonworldart.com) was born in Fall River, Massachusetts. He earned his BFA from Green Mountain College in 1999, and his MFA from the University of Nebraska – Lincoln in 2007, under a Hixson Lied Fellowship. Michael exhibits both regionally and nationally, most recently in Miami at A-BoMB, Sioux City Art Center where he received Best in Show for the 61st Annual Art Exhibition, as well as Athens, Greece and Varna, Bulgaria. Michael currently teaches at the University of Nebraska – Lincoln in the Textiles, Clothing and Design Department.
November 29, 2010
This is the essay I wrote to accompany our November exhibition Instructions for Initial Conditions (with Drift Station Gallery).
You may read this essay, or you may not. These words may influence your understanding of the works of art, or they may not. It is up to you, reader, to participate to the extent that you desire. My collection of words is a formation of information and ideas, intended as a catalyst for future investigations of the subject matter at hand.
The gradual shift of the artwork from appearance to conception during the twentieth-century is continuously marked by the influence of Marcel Duchamp, whose introduction of the readymade undermined an emphasis on retinal authority in favor of the conceptual and intellectual. By the time of Duchamp’s death in 1968, the artistic experimentations of Happenings, Fluxus, Performance, theater, music, and dance had moved the work of art away from medium-specificity and “wholeness,” towards a breakdown of categorical boundaries and an insistence on the contingent. With the emergence of Conceptual art in the early 1960s came a realization of the dematerialization of art; the work of art no longer needed a material presence, one that could be constantly measured against traditional modes of art, but could instead exist as a mental concept, one that may or may not be realized. This shift opened up the passages by which one produces art, as an emphasis on language and text rather than image allows the artist to operate outside the realms of a purely pictorial system. Yet one has to be aware of the reliance of text upon a pre-existing structure of communication; even though the hierarchical realm of image making is dissolved, the hierarchical schema of language still dictates our participation.
Text as a strategic insertion into the work of art finds a long history in artistic production, whereas text as a sole materialization of the work emerged in the early part of the 1960s (although one may persuasively argue John Cage’s 1952 composition 4’33” as an earlier manifestation). The trajectory of reductivism that one finds in the mid-century art world, one which has roots in early 20th century avant-garde experimentations, resulted in this emphasis on the textual. The offering of a text to the reader/viewer, a role which may be combined into that of the participant, creates a situation where the text becomes the work of art, underlining Sol LeWitt’s statement that, “If words are used, and they proceed from ideas about art, then they are art and not literature, numbers are not mathematics.”[i] However, the suggestion of the text as art does not require the reification of this text into a cohesive original work. If anything, the emphasis on the textual negates the idea of uniqueness and originality, the founding tenets of modernism, in favor of infinite possibilities to be enacted indefinitely. The text may be presented to the participant by way of documentation, in the form of the book, poster, pamphlet, website, and so on, in a mode of infinite reproducibility that results in unknowable encounters and enactments.
Via Wittgenstein, we understand our experiences as linguistically mediated; one may communicate with words, but these words must have meaning in order to be understood, to be meaningful. The experiential exchange between reader and text activates a performative model of art, whereby the viewer becomes the reader and thus an active participant in the creation of the work of art, a suggestive model which subverts the artist/viewer binary. Within this blurred line of creation, art becomes democratic; anyone who chooses can make and “own” art. I again emphasize that this does not result in a solitary, permanent, complete work of art, but rather a transitory, activated space of potential.
[i] Sol LeWitt, “Sentences on Conceptual Art,” Art-Language (May 1969).
November 21, 2010
Instructions for Initial Conditions
Parallax Space and Drift Station Gallery – November 2010
|Aaron Holz||Clark Stoeckley||Jina Wallwork||Milja Laurila||Sean O’Neill|
|Aaron Oldenburg||Dan Buhrdorf||Joel Farris||Miranda Maher||Silvia Sellitto|
|Adam Farcus||Darcy McCabe||John M Bennett||Moira Williams||SJ Gibson|
|Adam Tindale||David Berridge||John Hammersley and Jono Lewarne||Morgan Jensen||Skot Wiedmann|
|Alicia Grant||David Borawski||John Neeson||MSR2||Sofie Loscher|
|Alisdair MacRae||Deric Carner||Joshua Mattes||Na’ama Zussman||Spurse|
|Alistair Ashe||Elizabeth Gower||Joshua WF Thomson||Neil Horsky||Stephanie Busson|
|Angelika Rinhofer||Eric Lopez||Julie Haw||Nestor Armando Gil||Tamara Stephas|
|Anna Kell||Eric Moschopedis & Mia Rushton||Kan Seidel||Nicholas Knight||Team Zatara (Matthew Fielder/Rachel Kessler)|
|Annabelle Craven-Jones||Erik Benjamins||Katy Howkins||Nick Bastis||Thomas Martin|
|Anthony Roark||Esteban Schimpf||Kristin Nyce||Nick Kennedy||Tiana Peterson|
|Arran Poole||Georgia Wall||Kristina Martino||Norbert Costin||Tim Taylor|
|Arturo Evening||Hannah Hamilton||Kristina Wolfe||Osvaldo Cibils||Tom Hackett|
|Barb Smith||Hannah Ross||Lane Cooper||Paul Shortt||Tony Schwensen|
|Benjamin Sisto||HC Arnold||Larry Caveney||Paul Wierbinski||Travis Janssen|
|Betsy van Die||“Helina Daniel”||Laura Konttinen||Persephone Thorn-Hauswirth||Valka Loohuis|
|Bill Gusky||Ignacio Pérez Pérez & Aidana Rico||Luc Fierens||Peter Ciccariello||William Brovelli|
|Brian Schorn||Jamie Fritz & Victoria Hoyt||Luke Munn||Philippe Van Wolputte||Willum Geerts|
|Bridget Walker||Jason Conny||MA Melgares||Reed Altemus|
|Burt Ritchie||Jaume||Marianne Holm Hansen||Richard Smolinski|
|Carlos Navarrete||Jay Merryweather||Mark Koven||Romain di Vozzo|
|Charles Napier||Jen Keshka||Martins Rokis||Ron Lambert|
|Chris Barr||Jen Keshka and Jason Sendros||Mary Walker||S A Custance|
|Christine Dehne||Jen McChesney||Michael Davies||Sam Vandie|
|Christopher Ford||Jessica Borusky||Mies Baars||Scarlet Bourne|
|Christopher Hudson||Jesús Otero Iglesias||Mike Callaghan||Seán O Sullivan|
November 5, 2010
Friday, November 5 from 6:00 p.m. to late