White Line Fever
My reception of the show titled
White Line Fever is colored by mixed feelings. On the one hand, as a friend and
colleague to many of the artists showcasing their works I see the exhibit as a
success. White Line Fever utilizes an excellent dialogue between the extremes
of art being an expression of a singular individual, and art being the product
of time, society, and culture. On the other hand, the installation emphasizes
the disconnection between the styles and the artists themselves, perhaps too
much, making it difficult to see the show itself as a success.
Each piece encapsulates and
embodies the unique style of the artist, showcasing their particular interests,
direction, and influences. Moreover, the layering of the pieces on and near one
another emulates the feel of the studio complex in which the artists work. The
layout functions as a smooth transition between production space and the
gallery.
However, this same layout also
serves to be troublesome. The gallery space seems divided quite palpably
between the traditional mediums like painting and photography, and the more
unconventional mediums of video and performance. The conceptual pieces seem to
have been relegated to whatever space remained unoccupied by the first two
categories. The effect produced by this layout is disappointing. The paintings
layered on the white walls of the space are overpowered by the very
in-your-face quality of the sculptures; the video installation is tucked into a
corner like a knickknack (and didn't even play during my visit); and the black
wall along the far side of the gallery diminished the presence of the complex
photograph series. Furthermore, the layout of the sculpture pieces seem to have
no design and simply function to obstruct the audience's access to the other
works.
Again, this is not to say I didn't
enjoy the show or that I felt the pieces themselves were disappointing. Quite
the opposite, I feel the failures of the show stem not from the works
themselves and instead stem from the space in which they were exhibited. The
copious number of windows facing westward bring in unrestrained light which
flood one half of the space, and the black walls and ceiling opposite those
windows smother that same light. The result is that one half of the pieces are
bathed in an unregulated amount of white which washes out the brilliant colors
and highlights the feeling of separation, while the other half of the pieces appear
dark and lonesome, fighting for attention against the overwhelming presence of
the black walls and ceiling.
Simply put, I loved the works of my
MFA friends and colleagues. The pieces were engaging and dynamic, playing with
perception and position in relation to the work. However, I found it difficult
to enjoy the show as I found the gallery itself seemed to get in the way of the
show's success.
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