review as pictures: Carrie Hott's key room & Cybele Lyle in the project space @ headlands center for the arts
The Key Room by Carrie Hott
++ Cybele Lyle in the Project Space
Headlands Center for the Arts
944 Simmonds Rd, Sausalito, CA 94965
On a rainy afternoon on March 20th, 2016 Glossary Magazine visited the opening for The Key Room, a beautiful project by artist, archivist and art historian (we think so) Carrie Hott. In this installment of Review as Pictures, we feature the industrious project, two years in the making. Plus, an added profile of Cybele Lyle's work in progress titled Adventures in Solitude, currently happening at the Headlands in the Project Space.
There were wonderful take-aways, such as maps and self-guided tours by artists Walter Kitundu (AIR ’08), Constance Hockaday, and Scott Oliver (AIR ’09) and buttons. The inauguration festivities also included true stories told by Holly Blake (staff, 1988–present), Phoebe Brookbank (AIR ’88), Sarah Fran Wisby (AIR ’14), Mark Thompson (AIR ’86).
Below are images of Cybele Lyle's work in progress Adventures in Solitude. Sketches of painted photos and site specific installation filled the space and gorgeous photo prints on fabric adorned the windows.
More about Carrie Hott, here.
More about Cybele Lyle, here.
SAVE THE DATE: Sunday, April 17th Headlands Spring Open House. Studios will be open! 12pm to 5pm
Headlands visiting hours are SUNDAY - THURSDAY from 12noon to 5pm. Closed Fridays and Saturdays.
Both the Key Room and the Project Space are open to the public for viewing Sunday - Thursday 12pm to 5pm.
FYI CLOSED THE FOLLOWING MONDAYS:
Monday, April 18
Monday, May 30
Monday, July 4
Monday, July 18
Monday, September 5
Monday, October 17
Minnesota Street Project
1275 Minnesota Street
San Francisco, CA 94107
On March 17th, Glossary attended the preview party of Minnesota Street Project (MSP).
Spirits were high last night; people are hopeful about the potential that the project brings. Notwithstanding, there is much to critique as well.
Firstly, people need to be prepared for the influx of visual information. In SF, 49 Geary and various art nights have offered such critical mass, but because this platform is all in one two-story building the experience is different than neighborhood art walks/nights.
As always, it is good to see shows on off days, when it’s quiet and viewers have more room to think about the work and have meaningful conversations with the galleries. When Daniel Patterson’s café opens in the fall, this will provide a nice respite to take a break in between galleries.
Meanwhile, you can always hop across the street to Philz Coffee or many of the nearby restaurants in a few blocks walking distance. Speaking of which; there is ample parking toward the waterfront within a four block radius, and even more on weekends when the industrial businesses are not in operation. Plus, MSP is only two blocks from the Muni K/T 23rd Street exit.
I used to own a space, and we faced several access challenges at each location: one was a walk up with an elevator that didn’t work on my floor; one was in a spooky dirty flooded alley and one was behind a jewelry store. So I get it; people sometimes need reassurance to venture somewhere—even to art shows that we assume attract adventuresome and tolerant audiences—we are still plagued with stereotypes and fear. But as Andrew McClintock said last night, “There are no rules in the art world.”
Let’s embrace that more, shall we? MSP is a good start. I have written a couple of extensive articles on this space, and in general am very excited for what it brings to the Bay Area. Last year I interviewed MSP Co-founder Deborah Rappaport for artltd. And more recently interviewed Et al. gallery directors Jackie Im and Aaron Harbour for artslant. So, in general I am a huge supporter of this project.
The second major critique is with “critical mass” and the potential for “critical mess.” What I mean by that is the egalitarian “something for everyone” still leaves a big window of potential failure. This is where subjectivity comes in; within the larger whole will be shows that one person likes and another person pans. This is OK!
It’s important to begin looking at the individual galleries’ merits going forward, and continue to follow their programming; the bonus is the chance that suddenly the gallery you thought you didn’t like is showing something that catches your eye. Here are a few teasers that caught my eye:
Guide Me - Paradise
Work by Courtney Sennish
January 28 - March 19, 2016
2300 Telegraph Ave. Oakland, CA
Hours: 1-5 Thurs - Sat & by Appt.
In this Review as Glossary, we feature the work of Courtney Sennish, currently on view at Johansson Projects in Oakland. Review as Glossary is our signature critique platform, and our namesake, which offers readers a way to build their own contextual relationships with the work.
Johansson Projects has unique architecture, and they have repeatedly used the space in interesting ways. The Jay Nelson and Rachel Kaye show In Concert was a particularly noteworthy installation, incorporating complex build-outs using ply wood, which echoed the industrial particle board floors permanently in place.
Sennish’s works plays off of the gallery’s architectural mix, as well as complimenting its urban location. Her stark and disjointed objects act as remnants of experiential dissidence; those moments when memories are merely fragments. Conjuring the work of Gordon Matta Clark or Rachel Whiteread (though on a much smaller and non-invasive scale) her objects remark upon the precariousness of architecture and the notion of relics as objects.
The objects appear as archaeological specimens, but are in actuality made from scratch, using surprisingly light-weight materials that belie their appearance. The sculptures incorporate quirky and awkward gestures and reconfigurations of familiar objects that resemble glitches, as if from a cropped and pixilated screen. Several works include photographic processes, adding a metta layer of replication and documentation to the industrial and man-made references throughout.
- humanly contrived often on a natural model man-made
- having existence in legal, economic, or political theory-caused or produced by a human and especially social or political agency
– based on differential morphological characters not necessarily indicative of natural relationships
Ruins are the remains of human-made architecture: structures that were once complete, as time went by, have fallen into a state of partial or complete disrepair, due to lack of maintenance or deliberate acts of destruction. Natural disaster, war and depopulation are the most common root causes, with many structures becoming progressively derelict over time due to long-term weathering and scavenging. – wiki
Construction is the process of constructing a building or infrastructure. Construction differs from manufacturing in that manufacturing typically involves mass production of similar items without a designated purchaser, while construction typically takes place on location for a known client.
Constructivism is a theory of knowledge that argues that humans generate knowledge and meaning from an interaction between their experiences and their ideas. It has influenced a number of disciplines, including psychology, sociology, education and the history of science.
More on Constructivism here.
Experiential learning is the process of learning through experience, and is more specifically defined as "learning through reflection on doing". Hands-on learning is a form of experiential learning but does not necessarily involve reflecting on their product. Experiential learning is distinct from rote or didactic learning, in which the learner plays a comparatively passive role.
A dystopia (from the Greek δυσ- and τόπος, alternatively, cacotopia, kakotopia, or simply anti-utopia) is a community or society that is undesirable or frightening. It is translated as "not-good place", an antonym of utopia, a term that was coined by Sir Thomas More and figures as the title of his most well-known work, Utopia. Utopia is considered by some, a blueprint for an ideal society with no crime or poverty. Written in 1516, it describes an imaginary republic ruled by reason and intended to contrast with the strife-ridden reality of contemporary European politics.
Visit this link to purchase: Utopia.
All images courtesy of Johansson Projects and the artist.
486 49th Street (Temescal Alley)
Oakland, CA. 94609
January 21st – March 13th
For the last few weeks, Interface Gallery has been presenting a series of performative works titled Bodily Engagements.
Making Plain, which ran from February 15 through February 28th included a sculptural installation by Lisa Rybovich Crallé, fashioned from white shelving paper with a raised faux brick pattern. A few angled beams intersect the space. The dancers wear casual white jean costumes with brick patterned tank tops.
The project is one in an ongoing collaboration between Crallé and dancer Sophia Wang that they call Manners. Wang performed in the installation along with dancers Olive Blackburn and Titania Kumeh. The three interact with the space in a choreographed, minimalist arrangement of bizarre, awkward and at once beautiful gestures. An accompanying sound piece created by Tooth of Black Hole Cinematheque created atmospheric timing marked by surrealistic field recordings.
Glossary witnessed the third performance on February 27th. In another Review as Pictures, photographic documentation is here for you. Enjoy!
The final Bodily Engagements project features Endless, a performance installation with Renée Rhodes and Lauren McKeon. The gallery is open March 12th from 12pm to 4pm. A body + sculpture workshop will be held Sunday March 13th from 12pm to 2pm.
The entire series included works by Abby Crain, Lisa Rybovich Crallé, Lauren McKeon, Brontez Purnell and Sophia Wang. For more information about the entire series, visit Bodily Engagements.
All images & video: Leora Lutz for Glossary Magazine.
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