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Artillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST

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Artillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST BRANCUSI and SERRA A Very Serious Crowd 4 Nora Korsts Salzman BACK to the FUTURE? A Critical Look at the Blurred Line Between Education and Regurgitation 6 Anna Elise Johnson DIFFERENT STROKES Brett Cook-Dizney and Angelina Gualdoni are Different Folks ARTillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST. LOUIS ART MUSEUM SLAM’s Currents 94 Exhibit Intriguingly Sits On the Fence ARTillery is a student run, written, and read art magazine. Our pub- 12 Juan Tejedor lication is independent and self-funded, with the aim of promoting dialogue about art and our role as student artists. We will initiate dis- PAINTINGS at the CONTEMPORARY ART MUSEUM in ST. LOUIS course through artist interviews, show reviews, and artwork, while pro- 13 Three Painters, a Lot of Style, and Differing Degrees of Substance at CAMSTL viding services such as how-to articles, a calendar of cultural events in Juan Tejedor St. Louis, and the promotion of student art shows. We encourage our UNTITLED INSTALLATION readers to question purported truths about art and take an active role Anna Minx Plays With Paint, Beautifully in deciding what our art is and should be. 16 Christina Cosio SCULPTURE SHOW RE-REVIEW A Disgruntled Reader Takes Another Look Anna Elise Johnson - editor 17 Anonymous Kristyna Comer - associate editor Christina Cosio - copy editor RELOAD: FIRING BACK AT ARTILLERY Ali Harrington - feature writer 18 Our Readers Retort With Dissapointingly Friendly Fire Sarah Houle - feature writer Steve Kuppinger - advertising director DEAD FAT COMMEDIANS Heather McPherson - contributor A Suite of Images By and an Interview With a Local Artist Jonathan Muehlke - contributor 20 Peat Wollager and Eric Portis Eric Portis - design and layout SPEAK FOR YOURSELF: BRYAN KITE Nora Korsts Salzman - feature writer Images and a Statement from a School of Art Student Juan Tejedor - feature writer 22 Bryan Kite WHAT THE HELL HAPPENED TO THE AMERICAN IMAGINATION? Jesus and Mickey are Ruining Everything! 24 Steve Kuppinger THE CALENDAR 26 Dates and Descriptions of Upcoming Shows and Events BRANCUSI and SERRA A VERY SERIOUS CROWD Nora Korsts Salzman on the fence-of-legality loud-whisper beat During my Official Brancusi/Serra™ Training: “He’s very linear, isn’t he?” •From my superiors: “Oh, what a divine universe, it’s just splendid “I had a docent who thought it was just ok to “But there is never symmetry.” “You have to stand real close to this piece. It is the … When I go home I am completely redoing my touch it. She said to a vision-impaired person, •A blond, past her prime, poofing out her lips says: most valuable one in the building.” garden. It’s just divine … You have the best job in ‘just touch it.’” “God, these angles, they are so different.” •I am asked: the world. Thank you, thank you.” *scoffs and hack-throated disapproval ripple •You never know who you are talking to. A couple whispers “What’s down that corridor? This is a strange •Summing up my experience a man asks: through the crowd of docents* about Rothko and Serra in an empty gallery. I interject: space. It welcomes you in, but then there’s nothing “Are you the guard? How long are your shifts? You •When asked if Serra would like the exhibit: “It’s the process that makes it a drawing. I know there.” must get bored. It must be fun if you’re into people “The work does not belong to him anymore. It because I’m an artist.” •A young man and an old man refer to the museum guide: watching. I like looking at different people.” belongs to the space. He does not curate the “Well, I’m a curator.” “It’s rubber.” exhibit, you see. It’s like children, you have to *mega diss* “Is it? Phooey.” Eavesdropped Lightning Round: let them go … they are not his children now.” •Another duo considers the aesthetics: •Indignant, an older man says: “Gaylord, look at that view!” •A docent admits a treasonous desire: “Don’t they work wonderfully together?” “I, in no way, understand that. It says it is a self- “He was a really sensitive artist.” “This is my life dream to touch a Brancusi!” “Nice combination of textures … portrait. It doesn’t look like a man.” “I wouldn’t want to tangle with that thing!” •Our conditioning continues: material mashing together.” •A voice is heard saying: “Someone could write an article on that.” “Photography is a much less troubling media. •Two older gentlemen generalize: “Oil stick on linen? So what? Couldn’t you do that “You have to stand exactly here and a sort of vibra- It is very difficult to put words to Brancusi’s “Our daily life is no longer related to material at home if you had a big enough piece?” tion happens.” work. If you speak about artwork, even your …” •A man says to his companion: “Isn’t that $80,000?” text has to be artwork.” “I think people are craving it again.” “I can do that, and I might have if I wasn’t stopped “When you leave this building you know every art “Pragmatism hides an idea … it’s not all banal.” “… A need for fundamental things.” as a child.” work you’ve seen.” “Post-minimalism …” “Our world has gotten chunky, so far •Fear is successfully instilled: “When you have a diagonal, it creates movement.” away from that.” “There’s no line. You can probably look at it.” “Knuckle-scrapping steel is real stuff.” The Visitors Arrive: “Young people, there is so much going on … •The pervasive question is asked again: “This concrete is ten times more expensive per •A man in a mock military outfit, completely in black, it’s hard for them to sort through it … a smor- “Are these real seats or art?” square foot than regular concrete.” except for his silver buzz cut, squats and peers austerely from gasbord.” “I don’t know. Beep, beep, beep!” “Look at the name of that one!” *guffaw* every angle and philosophizes with his companion: “They can’t digest it.” *mimicking the ever-ready alarms that “I just don’t understand that!” “It changes, every millimeter is something new. •Women joking together say: go off at the breeze* “I feel like I’m looking across the deck of a space Dead on, it loses the figure.” “Oh, the artists and their dancers!” •An older lady with a watch around her neck says to her ship.” “When you see it in stone it is a “One of his models got engaged and husband: “It’s like a caricature … a nice one.” completely different object.” he said, ‘One less model I have to “It proves he had a sense of humor. It’s an owl.” “Just what I would have done.” “It was carved in stone first. You couldn’t get worry about.’” •Another sees humor in minimalism: “This is a crazy place.” that by laying a bunch of crap on it.” •An official-looking group of three converses: “You’re standing where the eye would be. It’s very “This isA Serra.” •Also in black, a couple whisper: “I’m lost without labels…” funny.” “Do they say where they are borrowed from?” *blank stares* “I love this thing.” •Debating important topics: “…just teasing!” •A pony-tailed man with his hand over his heart is moved to “Symmetry acts too much like a shrine.” *uncomfortable laughter* near-tears: 4 ARTillery April 2005 5 on to the next; they just vacate the premises. cast aside all the new ideas. Perhaps this is why cleared? Do art schools have a role to play in the BACK to the FUTURE? The style passé is left largely standing. You can still the question of originality rarely surfaces in art construction of a new art to fill the space? I believe see it taught and practiced, and in books and on education today and we are commonly encouraged that today’s student artists are up to the job and Anna Elise Johnson walls. Now, probably more that ever before, artists to imitate, appropriate, and reinterpret art of the that we are capable of an important contribution. are looting these abandoned edifices for guidance, past. The work of the artist Mike Bidlo is a perfect But first we must find and maintain our focus— rt education in the twenty-first century is When professors offer suggestions to students working forward from them. But is quoting or direction, and meaning. With so many sources to illustration of this. Bidlo re-creates works of dead forward. We must reject the dogma of the past and Amore random, contradictory, unbalanced, on how to solve problems or improve artwork, copying art of the past truly helping students in draw upon—so many role models—it is no won- artists, even replicating entire shows by artists such understand: der that pedagogical advice is often so bewildering- as Picasso and de Kooning. and backwards than ever. Philosophies of art and they sometimes draw upon solutions from their the art world of today or is it just setting them up …beliefs are postulates, choices, or personal its instruction vary wildly between art schools, own studio experience. Much more commonly, to make second rate, ordinary, and unappreciated ly varied and diverse. I have, in a single morning, Does the idea that it has all been done before interpretations susceptible to either adoption or rejection. They are subject to inquiry and departments within schools, and professors within however, instructors rely upon ideas and strategies work? James Elkins, a School of the Art Institute been referred to artists as disparate as Rembrandt, hold up? Is the new, the original, the creative pos- change as warranted.
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