The 1st Annual Visitor-Made Time Capsule.

Warhol Time Capsule

The time capsule that Ash Ferlito put together has been sitting on its pedestal by the front desk for months. This has given us an idea. Why not invite the Barrick’s visitors to help us build another one? Why not make it an ongoing effort, and add to it every year on the Day of the Dead, when memories of the past are being extracted from their solitude? (We will not ask for any actual deaths.) Why not, in fact, since we are an art museum, point out that Andy Warhol made hundreds of time capsules during his lifetime?

Why not ask for items that are related, somehow, to Andy Warhol?

Why not suggest some possible contributions?

— flowers (“If I had wanted to make a real sex movie I would have filmed, a flower giving birth to another flower” (The Philosophy of Andy Warhol (From A to B & Back Again) (1975))

— a clown nose. There is that Christopher Makos photograph of him with a clown nose

— a small pillow for John Giorno to rest on during Sleep (1963).

— models of two people to replace the ones who walked out during the first hour at the premiere of Sleep.

— a contract promising him a TV show. “I want my own show.”

— a dream book. His Mom had a dream book.

— a tiny wig. Something to do with a soup can, or a movie star, or an electric chair. The obvious ideas.

— a fantasy. “With everything changing so fast, you don’t have a chance of finding your fantasy image intact by the time you’re ready for it.”

— something in multiples

— an object in drag as another object. A pencil dressed like a spoon.

— beauty

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Artists of Nevada

christine siemens
Christine Siemens, Kitchen Inventory, giclée print on aluminum, 2003, Nevada Touring Initiative, PANORAMA: Selections from the Nevada Arts Council’s Artist Fellowship Program

 

After many months of Jerry Lewis channelling Moholy-Nagy we have returned to the fields of painting, drawing and sculpture with two new group shows, Panorama and Panorama +. “Selections from the Nevada Arts Council’s Artist Fellowship Program” says the subtitle.

 

Suzanne Kanastiz
Suzanne Kanastiz, Restitution, Graphite on Dura-lar, 2013; Naming the Unnamed, Carbon, resin on wood, 2008; Mandala, Blood on rag paper, 2004, all courtesy the artist: from Panorama +

 

There’s a third exhibition as well, Yesterday & Today, completely different from the other two: a collection of traditional and contemporary work by the Southern Paiute and Western Shoshone. As I type this I am remembering Everett Pikyavit’s tight Basket, Jug (2003), lying on the shelf back there like a willow-wand lightbulb.

 

beaded bowlSouthern Paiute, Artist Unknown, Basket, Beaded Bowl, ca. 1920 – 1950

Yesterday & Today won’t come down until May next year, but the two Panorama shows are only here until November 26th.

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Ash Ferlito and Time Capsule 2014

Time capsule 2014

Last week we had a talk from Lex Brown, who came here at the invitation of UNLV’s current artist in residence, New Yorker Ash Ferlito. This week we’ll hear from Ash herself. Same day, same time — Wednesday, 6 – 8 p.m. — but this time the talk is going to end with a time capsule.

Who is contributing to this time capsule? Artists, about half of them from the classes she’s been teaching.

Originally, or so I’ve been told, the plan was to bury this time capsule in the garden, but the UNLV gardeners didn’t like that idea and therefore it will be kept in the Museum on extended loan for thirty years instead. Extended loans at the Barrick are rarely that long or that specific, so, out of curiosity, I asked her if she could tell me more about the project.

She wrote back from a coffee shop:

“I think about time a lot in my work, the future, the past and they way that things— objects, mementos, can take on a significance and act as a conduit to deliver meaning about identity and experience. I’m interested in phenomena like Jerusalem Syndrome and the power of place, things and the effect on the psychology of people. Often in my painting this interest is embedded or mitigated into a system, such as color organization, but Time Capsule 2014 addresses the ideas in a very direct way.

Traditionally a time capsule is a collection or cache of objects and information intended as a means of contact with future people, often intended for archaeologists; this project as an act of social sculpture is a metaphysical exercise proposed to bring greater understanding of our present time, our individual selves, our group identity as well as generate a conversation around the nature of our future. As a requisite for participation the contributors have agreed to convene in 30 years time, 2044, to open the capsule and review the contents. In the case of about half the contributors this is asking them to project into the future longer than they have been alive, which I find really interesting— 30 years seems just over the horizon in terms of clear understanding of what one can imagine his or her life to be. The commitment to meet again is key to the project, the pact, as well as the fact that we, as a group, will exist in this vessel concurrent with the events of our lives, is generating the magic of the act.

I love the ‘slow-burn’ as you’ve described the project. I imagine the alchemy of time and our individual energy effecting change in some way, both in terms of the physical nature of the contributions but also a sort of psychic change outside of the vessel. Within the great flux of life there will be this one small constant. There is a great scene in the movie “Harold and Maude” where Maude throws a souvenir stamped penny ‘Harold loves Maude’ that Harold has just made her into Elkhorn Slew, and exclaims, ‘So I’ll always know where it is.’

We will always know where it is– that is the meaning of the extended loan, it will be there, at the Barrick, cared for, with official paper work, with ceremony and a bronze plaque all adding to the significance of a moment when we were all present in one form or another.”

 

And she added: “It has caused as all to face the inevitable loss of loved ones and the uncertainty of our own lives.”

 

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The Installation of Derivative Presence

Installing Derivative Presence

Art for Art’s Sake has been taken down, boxed up, and sent back to Los Angeles. Look on the Barrick Facebook page and you’ll see a photograph of Billie Weisman herself in the back of a truck next to a crate of something huge.

I was somewhere around the middle of that last paragraph when Javier Sanchez and Yasmina Chavez arrived with boxes and tools to set up their new sound installation in the Xeric Garden. This is the description from the flyer –

Derivative Presence will run in two locations for the duration of the exhibit. Randomly searched and found youtube videos of people communicating directly to their audience will be exhibited inside TastySpace Gallery (May 23 – June 21) as an invasive spatial installation. The original sound corresponding to those videos will fill the Xeric Garden environment at the Marjorie Barrick Museum (May 5 – June 21) creating an isolating sound experience.”

They have settled their tools on a bench and the tree outside the office window is howling MATCHMAKER MATCHMAKER MAKE ME A MATCH in a disembodied child’s falsetto. In other news, the artist Lex Brown will “discuss her experience at Thomas Hirschhorn’s Gramsci Monument as well as her own artistic practice,” at the Barrick on Wednesday May 7th from six to eight. Private/Public is still running, of course, and the curator Emmanuel Ortega continues to offer free tours in English or Spanish every Thursday afternoon between 1 p.m. and 4 p.m.

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