Art Lies, Volume 66, Summer 2010 Page: 86
96 p. : col. ill. ; 28 cm.View a full description of this periodical.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
4 e
//-,,n i i
L. Buster Graybill, Tush Hog (detail), 2010; courtesy Artpace San Antonio
R. Tush Hog, 2010; mixed-media installation; dimensions variable; originally
commissioned by Artpace San Antonio; photo by Todd JohnsonSAN ANTONIO
IAIR 10.1
Artpace San AntonioWhen Artpace San Antonio unveils its International Artist-in-Residence
(IAIR) exhibits every four months, there are always attempts to conceptu-
ally and formally connect the three individual projects on view. Viewers,
reviewers and even the curator try to figure out how the projects fit
together, how they act on and lean against one another. Often this exercise
falls flat, as the three artists-selected by the same curator and working in
adjoining spaces-take their projects in entirely different directions. The
IAIR work currently on view, however, demonstrates how well the conflu-
ence of the projects can sometimes shed light on each individual artist's
approach to a singular concern.
All three installations could have sprung from a single question: What
happens when you take a minimalist surface and push a body up against
it? In the answers provided by Buster Graybill, Klara Liden and Ulrike
Muller, the kinds of surfaces, pushes and bodies vary widely: rams seeking
corn butt their heads against stainless steel sculptures on a Texas ranch; a
person clings to a concrete pillar high above the ground in downtown San
Antonio; and bold, geometric abstractions referencing human anatomy fill
the surfaces of small, steel plates.
In Tush Hog, Graybill released semi-minimal stainless steel sculptures
filled with corn onto a ranch outside San Antonio. Small holes in the
sculptures let the corn out, attracting wildlife-rams and feral hogs-and
inspiring small feeding frenzies, while game cameras installed on the
ranch captured video of these interactions. At Artpace, Graybill presentsthe rugged industrial sculptures, with dirt still clinging to them and corn
scattered about the floor. Documentation (videos and stills) of the animals'
responses hangs on the walls. In one video, a ram jumps up and down
around a sculpture as another butts its head against it. The sounds of rams
butting horns and running into the sculptures echo through the space. The
installation leaves one to wonder if the gallery invaded the wild or the wild
has invaded the gallery; sculptures born at Artpace infiltrated ranchland,
but what the land sent back was imbued with an animal energy foreign to
the art institution.
Liden's performative videos are a kind of inversion of Graybill's
strategy. While Tush Hog's surfaces were created in the gallery and the
movements came from the wild, in Liden's Corps de Ballet, the artist
constructed movements in the gallery and then pushed them against
surfaces in urban spaces. Three surveillance-style videos projected on the
gallery walls bring her actions back to Artpace-and to the viewer. One
video starts with a shot of a street and the corner of a building with large
concrete pillars. All that seems to happen are views of cars passing by, but
eventually one notices the arms and legs of the artist clinging to the top
of one of the pillars as she slowly edges her way down. Just before she
reaches the bottom, the video ends. In an adjacent projection, the artist
performs the same action on a lamp post at night. A third, shorter video
shows Liden doing a slow, minimal dance on the top of a parking garage
and ends with her body curled up in the empty space. Across from the86 ART LIES NO. 66
C-
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Gupta, Anjali. Art Lies, Volume 66, Summer 2010, periodical, 2010; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228031/m1/88/?q=%22Puleo%2C+Risa%22: accessed June 8, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .