• Cosmogyny

     

    It seems as if there has always has been a belief in two worlds, that of the seen and the unseen, of the visible and the invisible, of the known and of the occult. But contrary to the subversive overtones that are used to conceal worlds of experience beyond that of everyday consciousness, occultation simple means “hidden”. It is not, by necessity, a nefarious or otherwise dubious connotation, to say that something is simply concealed. Quite the opposite in fact. For those artistic initiates and creative seekers who want to go into realms heretofore unexplored, the term occult alludes to any process that allows something which was previously obscured to be brought out into the light of understanding, or of re-evalation posited as a revelation. In this way, occultation is very close to what the esoteric writings of Martin Heidegger called the ontological-primordial play of concealing and revealing, or of bringing something "into the light" in two distinct senses, i.e., of things revealed in both the outer and inner worlds of experience.

     

     

    We can also find many ways in which the notions of cosmology and cosmogyny are intertwined in the twofold conundrum of ontic and ontological experience. Afterall, many of the great occult traditions share a singular notion about the "Ontos", which is that of “the sacred marriage”, or of having traits of both the male and the female in oneself as the ground of being prior to any division, be it biological, cultural, etc. Sometimes this “sacred marriage” is called the “transmutation of the elements” in alchemy; the going-under of “dark night of the soul” in psychology; the discovery of “the philosopher's stone” in philosophy; and so many other names throughout the world's many esotic traditions. Cosmology and cosmogyny might also be viewed as one such dichotomy, placed somewhere between representing the "generative" and "gestational" principalities that are always already married within all creative acts. Afterall, both of these "genus" conditions are still being theorized today in relations to all of existence, without either term holding any sense of primacy. 

     

     

    In other words, the fusion of opposites which is often characterized as the "supreme occulted truth", or really as an occulted axiom that aims to overcome the originary division of forms, is itself, something that is paraded around as the highest grade of the mason, the guru, the magnus, and the master who has "attained" the deepest of non-dual insights. But today, science too is after the truth of what brought the universe into being before dualism. By contrast with the ritual and material practices associated with the occult arts, we can say that all outward, exteriorized, or reified dogmatic truths focus on the opposite goal, i.e., that of heightening the antagonism of identifications associated with good and evil, light and dark, and difference as-such. This is what caused both Nietzsche and Crowley to condemn modern reigion as the birthplace of "herd morality", "reactive consciousness" and the inversion of life affirming values. 

     

     

    But where is this most obviously on display in our culture today? Sadly, it is in the larger than life mythos created by misogyny, for which Cosmogyny could offer a much needed corrective. Even our modern religions still seem to miss these rather obvious exclusions and hierarchies in having created a series of godheads who are often absent any female counterpart, be it Yaweh, Allah, Buddha, etc. The symbolic crime here is that such cosmologies lack any gestative element in their allegories of creation. Everything is created ex nihlo, and comes to frution without growth, care, and sustantive support in the worlds major religions. This makes them all-or-nothing religions, or "all-is-One" systems of belief without any remainder, suppliment, or sense of self-othering. They are monism positied as a kind of absolutism. The ancients however, rarely made this same mistake. They tried to keep extreme misogyny somewhat separate from cosmology. In fact, in many of the pre-modern traditions the gods tended to be many, plural, and even diverse in their interests within the same cosmological constallation.

     

     

    The uncanny parallel here with the rise of modern art and modern monotheism is that both belief systems became essentialist, acting in a neo-fudamentalist manner by eliminating everything but “the truth to materials” and the “truth of the (bibilical) text”; the rhetoric of “purity” and the rhetorical devices of religious conversion; the teleological drive toward flatness and the flattening out of all the gods into the one “Father who art in heaven...". Of course, Freud had already noted this tendency in his book Moses and Monotheism, which is to say that creative story-telling has underwrit the whole of modern culture... religion included. Consequently, the notion of Cosmogyny as a progessive outlook is premised on upsetting all forms of absolutism and in reworking the supposed place of the “Father who art in heaven..." with "the Father who Art..." creative. Even the critque of modernism, which in the end, boils down to a critique of genuis, is premised on the occulded element of feminine creativity. The genus of onto-theology and the gestational notion of creation based on the great gaia traditions are only reconciled in the definition of "genius" as gestation by way of genus. The definition of genuis associated with modernism is a rather malignant cultural meme based on the self-sufficiency of being as a vision that is unto-himself, for-himself, and by-himself... for all eternity. In other words, both the monism of modern genuis and the monotheism of modern religion are both a postulated absudity and a logical paradox: the creation of the big Other who appears from nowhere, but govens all. 

     

     

    Here it is important to mention that the artists involved in Cosmogyny do not represent the first serious attempt to point out these aesthetico-ethico-religious contradictions. Rather, their work is informed by an important tradition of sacrilegious contestation that is intimately wed to aesthetic contemplation. Afterall, this twofold tendency of modernism and monotheism to be exclusionary, elitist and thoroughly fundamantalist is not something that was lost on the many modern artists who recognized that the will toward strict absolutism, cut off from embracing the full spectrum of human experience, is itself the real tragedy of the modern age. It forms the chasm of a symbolic deficeit we are still trying to repair and replace today, with great gains and loses all around us.

     

     

    This effort was evidenced through the vast influence of theosophy on everyone from Mondrian to Kandinsky; the “spiritualist” obsessions of the Surrealists; the new age visions of Hilma of Klint and Malevich; the darker intimations of artists like Felicien Rops and Austin Osman Spare; and even Josephin Peladan’s Salons of the de la Rose + Croix. All of these early modern outliers circumscribe the origins of the avant-garde not as an advancing perspective, or an obsession with “the new”, but rather, as reclaiming and integrating the past, including the influence of wholly anti-modern tendencies! In other words, modern art also particiapted in the "sacred marriage" that is germane to creative acts hidden, occulted, or covered over by the dominant definitons of progressive art pratice. Because of this, there is and continues to be two modernisms --- a concealed modernism and a revealed one --- or rather, a modernism about advancing "visionaries" and a modernism that is about the play of revealing beyond what the eyes have to offer vision. 

     

     

    In our contemporary moment however, Cosmogyny picks up where these modern traditions left off, bringing radical aesthetic practices into the 21st century through the use of altars, pin-ups, puppets, paintings, plays, appropriations, and projections both real and imaginary. One can see the work in Cosmogyny both as response to our current religious and political pressures as well as an occulted conflict between our illusions of morality and identity. Adopting certian postmodern strategies like parody and pastiche, we can see how a heightened sense of self-awareness informs much of the work in the show, and that humor is often used as a tool of disarmerment in rethinking the ontic-ontological divide of representation.

     

     

    But where Cosmogyny exceeds and even challenges these postmodern prescendents is in its effort to reclaim the battelground of desire. One could even say that it is romanticism, and not the kind of neo-romanticism identified by writers like Michael Dashiell or Gargi Bhattacharya, but a perversion of the romantic idiom that forms the crux of the collective project that is Cosmogyny --- and which substantiates its varied pictorial cosmologies. The desire for the other, "the Other", the One, Ontos... all of this is stood on its head by the work in Cosmogyny. Instead, dualism, division, and the duplicitious are all made to pay dividens throughout the aesthetico-politico stagings of Cosmogyny as a newly minted vision of Dante's Divine Comedy, albiet, in the form of performative theater, a detourned video lounge, cheeky characterizations of the art press and much more. We have here, an new vision of the pictorialism of amor, of the artist's loves, and of endless consumation against the prejudices of consecration.

     

     

    So please join us for a night where the theater of existence will be dramatized on the one evening where all of culture takes part in the play of inverted symbolism, inerrant archetypes and irreverent masquerades. Help us celebrate Halloween, that other word which also carries an occulted meaning hidden within its etymology --- where the supposed “hollowness” of the parade of carnivalesque figurations --- is actually donned in order to let the inner deamon of us all out to play in the world for a bit. Like all forms of festival wherein the unspoken aim is nothing less than allowing the Jungian shadow-self to mingle with our everyday persona, so too, the opening night of Cosmogyny invites the transmutation of all forms, both the sacred and the profane, the beautiful and abject, high art and mass culture, in unlimited measure. 

    Artists in the show: Hannah Irene Walsh, Paige A. Turncliff, Lisa Von Hoffner, Rachel Goodwin, Mario Munguia Jr., Madison Pennisi, Daniel Funkhouser, and Mary Williams.


  • PHX ART NOW II

     

    PHX ART NOW II is the second part of a survey of contemporary art comprised of a wide cross-section of different concerns and mediums. It aims to be a snapshot of art production without trying to impose a theme or group ethos on the works being exhibited. Instead, PHX ART NOW II presents a glimpse into some of the most challenging, creative and diverse contemporary art being made in the valley today.

     


  • The Fate of Landscape Painting

     

    Landscape painting has always been tied to the question of fate. The pastoral landscape was comforting, conquered and subdued, signaling that the fate of humanity was in a position superior to that of nature, or ultimately, that is was closer to being in a pictorial dialogue that reflected the benign hand of a benevolent godhead. In contrast with this explicitly religious outlook, the experience of standing atop sublime vistas or facing nature's most extreme forces eschewed perspectives that threatened the safety of the human subject, and were often depicted using pictorial motifs associated with trans versing unimaginable distances. It is no coincidence that this interpretation of the landscape rose to prominence at the birth of the Enlighten, when humankind traded the picture of creation with a caretaker for so many images of paradise lost. Of course, these were strictly pre-modern notions of our fated condition of confronting the landscape, largely because it was taken for granted that there was no other means of natural habitation, save that of struggle. In fact, there was no way around the landscape as a fated relationship of tumult and toil until the invention of trains, planes and automobiles. As a consequence of these modes of transportation, along with widespread industrialization, the genre of landscape painting lost its perceived relevance as our relationship to the environment became one that was defined by greater and greater degrees of distantiation over the course of the last century. 

    After being exiled from relevance for more than a few generations, landscape painting has made a rather triumphant comeback by embracing the themes of earth-art, land-art and eco-art, but transmuting the central concerns of these genres into pictorial dispositifs. Once again, we are trying to picture the landscape, but not as caretakers or conquers. Instead we are confronted by the landscape in its aggregate and interconnected effects. Which is to say, that what was assumed to be inert matter has now become increasingly active and what was thought of as a bounded material has become a dynamic form of earthen animism. In short, it seems that since we've displaced enough of modernism's by-products into the atmosphere and the ground below, planetary life has now entered into a reactionary phase, or even a classic reaction-formation, with regard to the irrevocable inheritance of the modern era.

     

     

    Or, to go one step further, one might even say that we now live in the period of Gaia-in-revolt or even planetary anti-modernity if you will. Indeed, we might only be experiencing the first rumblings of the consequences that have come about by way of ignoring our interventions and accelerating investments into the literal and figurative idea of the landscape. Modernism was, afterall, defined by thinking about the concrete reality of materials put in service of a set of increasingly abstract pictorial conventions, which is to say, it abandoned the means to think about the x an y axis of representation with any degree of genuine complexity. Flatness and anti-illusionism became the call of the day, and postmodernism was only just beginning to recover the depth of field we once had, or a farsightedness which, when abandoned, also represented the loss of depth associated with our cultural concerns about the landscape. And so, in the early 21st century, we still find ourselves waking up from a kind of cultural slumber with regard to the problematic of creative-destruction and cognitive dissonance that defined the modern era tout court.

    But the artists in The Fate of Landscape Painting bring a renewed look at the landscape without any sense of productive or painterly indifference. The work of Travis Ivey plays with the dichotomy of romantic naturalism and constructed aerial views by assembling pictures from discarded commercial goods as well as traditional materials. Camila Galfore gives us a picture of the landscape painted in ghosted contours, combining the orthographic feel of eastern landscape painting with the techno-vibrancy of our contaminated life-world. Devon Tsuno provides the punctum of picturing the landscape by passing it through saturated chromatic scales cast against so many iconic motifs. Abbey Messmer paints with a method that is part dreamscape, part improvised reconstruction --- where the place of the human subject is put in question --- especially with regard to the feeling of a well-defined Cartesian space. Cam Decassin's paintings are perhaps even more telling in this regard, as they often hint at a post-Hopperesque world, one where what's left of the nuclear family is otherwise occupied indoors, or wondering amongst the constructed naturalism of suburban sprawl. Sarah Hathaway's more expressionistic approach gives us pause to reflect on the last vestiges of a world without us, where affect and effect make up the boundless play of beautiful and conflictual forces. Both Virginia Katz and Jonathan Marquis's works explicitly confront the themes of climate change by marshaling the ability of art materials to highlight how environmental conquest is circumscribed by both entropic and accelerationist tendencies. Emily Ritter's installation points to how the problems of accumulation, degradation and debris can be made into a literary corpus, or a exquisite encyclopedia of the ruins of the day based on using rhetorical devices of display.

     

     

    Together, these artists address The Fate of Landscape Painting in a different manner than their premodern or modern predecessors. They come not to bury the dead presuppositions of modernism but to exhume its exhausted remains, and possibly, to retrieve the potential of a genre cast aside for almost an entire epoch. They come to resuscitate its lost potential, and to make its fate into something more than what the logic of post-industrial capitalism and planned obsolescence might allow. In fact, in their able hands The Fate of Landscape Painting has a brighter future for foregoing the retrogressive tropes of démodé romanticism and instead, facing up to the demands of the day, or what many now call encountering the catastrophic condition that is comprised of living in the age of the anthroposcene. This term, which denotes an era forever marked by human impact on the carbon record gives us the contours of a new turn in the logic of the epoch, where the appreciation of creation and the abandonment of "mankind" have been replaced by examining the consequences of our collective impact today. Thus, the work in The Fate of Landscape Painting is a harbinger of things to come, and questions the viewer to think deeply again, and not just about the value of an image, or a genre, but the values of western culture in total. And because of this, The Fate of Landscape Painting still has a bright future today, tomorrow, and for many many years to come. It seems, that for this generation, it is even fated to be so. 

    Artists in the show: Laura Spalding Best, Cam DeCaussin, Camila Galofre, Sarah Hathaway, Travis Ivey, Megan Johnson, Virginia Katz, Jonathan Marquis, Abbey Messmer, Emily Ritter, and Devon Tsuno.


  • Emily Ritter: Habitual Consumption

     

    Emily Ritter's work is performative, accumulative, and subversive for engaging in a politics of anesthetization around what many people would consider to be an act or actions that are habitually associated with the greatest degree of disinterested feelings, i.e., the regime of disposable objects. And yet, the idea of the "disinterested gaze" is exactly what the 18th century philosopher Immanuel Kant considered to be most germane to the act of aesthetic contemplation. It is here that we find Ritter's work performing something quite unexpected with regard to what Jacques Ranciere has termed 'the aesthetic unconscious', or even Jameson's notion of the 'political unconscious', especially if we take them to represent the place where praxis and dissensus meet. Splitting the difference between Jameson's and Ranciere's terminology involves looking at the place where unconscious actions break with our encultured consensus trace in order to produce a new kind of critical import, one which becomes operative at the very moment that we are overloaded by cultural by-products that are perpetually produced "on-demand".

    Indeed, it is here, where Ritter's earlier series, like "Wildly Captive", act in a transversal manner that crosses figurative cartoons with a kind of literal carbon footprint, or rather, a creative carbon-handprint, in the form of a culturally legible art practice that is also a means of socio-political praxis. Thus, "Wildly Captive" enacts a type of cultural commentary about anthropocentric positions in the palatable form of cartoon-like imagery, where consensus emerges from the ease of consumption associated with comic book iconography while what is depicted evokes a general feeling of disensus with regard to how we see the world around us. Ritter's next series goes a step further in adopting serial imagery for "Consumption and Cycles" that points to the many ways in which we are pressed to contemplate the repressed, not only in the form of imagining the recyclability of the self in a culture awash in product-branding, but also in the fact that it is getting harder not to see the face of our species as the poster child for a terminal mode of economic production. In this series, it could be said that humanity holds the general space of product placement and above all, we are the warning label for the environment.

    In contrast to these earlier projects Ritter's more recent work places the theater of her own waste on display, allowing the series entitled "Habitual Consumption" to break the disinterested spell of consumer driven dilettantism by way of Brechtian means. In this instance the routines of daily life become the fourth wall that we all must break-through in order to change our relationship not only to the environment, but also to consider the possibility of life becoming art, or of a new arts of living... or at the very least, of how to enact the very real art of conservation and attending considerations. To put it another way, aesthetics here is a measure of our "interested" contemplation rather than our "disinterested" behaviors; it is a matter of thoughtful acts rather than careless actions, and it depends as much on the categories of aesthetic contemplation as it does consumer motivations. And all of these concerns are held out before us in a series of objects of irreconcilability, which, when taken together, are something like Ritter's collected editions of memento mori, with each new volume being about not just about the idea of death, but of the death-drive associated with living life as-if we inhabit a disable life-world. 

    In this way, the artist's own books of consumptive accord, or rather, the gathering together of these pages of (un)natural discord, hold our attention at the edge of what we could comfortable call the commercial gaze. As documents they have a structure that is not wholly unlike that of flip-book style animations, but what they animate is an active consideration and condensation of the very pace of consummation that goes hand-in-hand with living in the era of "all-too-late" capitalism. And yet, what they seek to address is how the consequences of capitalism getting to any "later" stage in our economy of overproduction, without coming to terms with addressing the realties of externalities may come back to haunt us on a global scale. Whether or not we can reverse what many consider to be one of the unfortunate outcomes of ends-means rationality, of endlessly fulfilling supply-and-demand, or even of continuing to encourage permanent growth as a "naturalized" dialectic of capitalist revolutions is something that will be fought over in the coming years on the terrain of both aesthetics and politics.

    What might be missed in such debates however, is that the philosophy of disinterested aesthetic pleasure was birthed alongside Adam Smith's idea of the "invisible hand of the market", and that the major inward turning metaphor of both Kant and Smith is one of blindness to our acts and actions. Kant, afterall, produced a transcendental philosophy related to a blindly thinking about pictorial means-without-ends while Smith produced a blinded thinking about thinking of means-as-an-end-in-themselves, where the (un)natural by-product of self-interest is staged as the hero in a story about socio-economic development that stretches from living in the state-of-nature all the way to our present capitalist system. Of course, both of these outlooks now appear to be something like unconscious defense mechanisms against having to consider the real world outcomes of capitalist competition. Creative-destruction is not a blind man’s game, but thinking about it along the Kantian-Smithian axis has certainly proved to be a blind man’s bluff, or much more simply, it is the kind of double-blind contradiction that Ritter's work actively seeks to expose.

    And it is from this perspective that her projects place us on the flipside of capitalist accumulation in the form of producing "flippant" texts of environmental expropriation. But they are not at all flippant in the sense of being a joking gesture or a coy refrain. Instead, they are objects of contemplation in as much as they try to introduce us to a wholly new sense of object relations who's antecedents of interpretation resonant more with the philosophies of Klien and Kristeva - or of the effects of the partial-object and the affects of melancholia - rather than any overarching sense of release into the realm of "purely disinterested" pleasures. Or, one could go a step further and say that Ritter's objects are a perfect rejoinder to all of the Object-Oriented philosopher's who have had a tremendous influence in the humanities in the last decade with regard to rethinking our relationship to the environment and nature writ large, alla Timothy Morton, Levi R. Bryant, Graham Harmon, et. al. 

    And it is from rethinking the relationship between these these contemporary perspectives on art making that Ritter's Object-Oriented books could be said to disorient our well-regulated cartographies of consumption. They do this by placing a new categorical imperative on us of the kind that Kant could not have imagined, because it is imperative to read and retrace the impetus behind our ecological impact as the outcome of so many "interested" parties. In this way, we can say that Ritter's work is an artistic practice that gives us object that functions as a type of picturing - a picture that is equal parts diary and display - and which allows the "unthought" to emerge into the field of so-called "disinterested pleasures". This is not only how Ritter's work picks up where Kant's third critique never thought to go; or how she has taken the remains of the day and turned it into a serial measure of object relations that address the leading concerns of our time; or even how Ritter has done all this through the lens of self reflexive-critique split between questioning the agency of one's own actions and the act of aesthetics becoming an agent-for-change. Rather, her project operates across all of these valences and more.

    This is because the real twist in her oeuvre is that her works are a documentary trace of "casual" consumption rather than "motivated" buying; or they focus on "disposable" interests rather than consumer "pleasures". As such, Ritter’s works underscore what remains truly "unthought" in the consummation of consumption given over to us as both what allows us to buy and carry products home, as well as what lives on as the by-product of our everyday culture of convenience. In this way, her art practice acts an anthropological record of our consumer civilization, and most especially of the kind of waste that is generated at point-of-purchase sales, transit kiosks, or even just packaging in general.

    As a consequence, Ritter's record of debris-via-domesticity begs its viewers not to become docile consumers of "disinterested" measure. In fact, one could say that with each new project Ritter manages not only to measure the losses and gains of Western Civilization, but to take a more interested approach to thinking about the so-called "civilizing impulse" as it applies to the cultish status attributed to impulse-buying. After all, capitalism was set up alongside the ideology of secular materialism, where being up on the latest trends or participating in the most recent "fad" is its own kind of cultural communion. Only nobody counted on how the near religious acceptance of what goes with the Eucharist of sales has yet to find any transubstantive equivalent in the modern world, save maybe, recycling. And so, the possibility of this very division between fallen base materials and redeemable, recyclable, and reusable matter might one day qualify what is considered to be defining difference between cultural by-product and culture-as-such, ultimately inverting the Kantian paradigm from what has no use value to what created endless surplus value.

    Cast in this light, one could even say that Ritter's most recent series, "Infertile Obsolescence" represents the event-scene of our generation with an even greater emphasis placed on the weight of our everyday actions. Afterall, Ritter's critique is undoubtedly at its most poignant when she intertwines the idea of both planted and planned obscene, or of planned obsolescence as an idea which is perpetually implanted in us, by conflating the two in the form of a collaged aesthetic that challenges the disinterested gaze of profit and exchange absent any concern for environmental accords. Indeed, Ritter's true radicality lies in this: that her work is the kind of artistic practice that we hope to see taken up by a new generation of artists with the same seriousness and level of commitment, where rethinking everyday praxis involves picturing our acts and actions on the "world-stage", and that this might becomes a central concern not only in art, but in all forms of cultural production. If this is indeed the chasm we have to cross today, then Ritter's work is certainly showing us a way to turn the tide against the 18th century version of art as the disinterested play of the faculties, and what a greater concern might look like for what comes out of our factories. Thus, Ritter's interventionist approach has profound implications for how we think about the unconscious drives of western "development", where art can has a significant role to play in consciousness-raising about the entire chain of production beyond the product itself. Hers is a project that sketches a genuine way forward in reclaiming our collective planetary futures, a contribution to art that is itself, of no small measure. 


  • Jonathan Marquis: Earth Eaters

     

    The works of Jonathan Marquis stand out as having a rather singular quality about them in the arena of contemporary art today. Whether drawing is mobilized as a documentary form, or abstraction is utilized as a type of process-based realism, or even if the dynamics of installation art appear to be motivated by the naturalism of the world outside the wide cube, one could still say that the diversity of methods associated with Marquis's art practice demonstrate a kind of virtuosity that is rare in the field of cultural production. But more importantly however, is the fact that when one walks into a gallery space composed by Marquis's works, one not only gets the feeling of being in a total work of art but even of becoming part of the composition itself. And, it is usually the composition of a living work of art, often made of porous materials that serve as a composite picture, or even a type of "picturing" of analogous operations at play in the world all around us. 

    All of these considerations are often held in a state of tension that can be attributed to colliding a series of historical notions about how art functions in the expanded field of praxis and meaning production. There is first, the idea that in Marquis's work, we encounter something like the image of the journeyman, which is to say, evidence of a skilled craftsman in many different mediums. In this regard his work is the very best of what working in the "post-studio condition" represents today, i.e., that of being an artist who not only uses form in service of content, but who's selection of materials becomes content, rather than merely remaining part of an art practice that is defined by genre specific limits. The second sense in which Marquis is a journeyman is that the word itself carries a heavy set of connotations by being linked with terms that are as diverse as manufacture, technical know-how, and even specialization. You will see this kind of interplay exercised between mediums amongst Marquis's most challenging exhibitions, where every piece acts in service of creating deeper connections, always without any one piece stealing the show. And the third sense in which the figure of the journeyman might be said to apply to Marquis's selected motifs is in how his aesthetic inclinations place us within worlds of meaning and making that rehearse art historical themes from the last few centuries without being reducible to their original referents.

     

     

    By drawing new associations out of familiar structures through so many time-based operations, Marquis's works aim to take us on a journey past the world of abstruse reifaction and toward a confrontation with the real contradictions of our contemporary life-world. That is most in evidence in Marquis's oeuvre where art often functions as record of acts and actions; of time spent and journeys made; of trace elements and material enclaves --- all of which are coordinated in a way that helps us to rethink the gallery space as a place where the conditions of history are circumscribed by varied and even conflicting notions of aesthetic experience. Touching on different times and places, Marquis's work engages with the period of the Enlightenment as he negotiates his way through working with the vistas of the sublime; from abstraction Marquis samples the best strategies for making from both the monumental and the provisional; and from video art it could be said that Marquis's working program underscores an attenuated sense of suspended passage that is defined by the split between the slowness of natural time and speed of cinematic temporality. 

    Beyond these particular instances of genre specificity there is the way that Marquis's use of medium specificity upends the confines that are regularly attributed to both object and producer. This is most decidedly on view in Marquis's work when he engages with the rather Kleinian desire to have an audience ingest the elements of art production, only he moves beyond the horizon of formal interactions established by Yves Klein's patented blue, which was used as an object to drink, to get dunked in, to manufacture and finally, to polemicize. Instead, Marquis's critique of consumerism hinges on the creation of a "Glacier Icecream" that carries the enfolded meaning of creating a shared space between subject and object as well as its obverse, which would be a kind of subjective utterance, or a provocation for the "i" to scream about being asked to ingest the remains of one of our most valuable natural resources.

     

     

    Or, we might look to how Fontana's focus on the incisive power of the cut in the canvas --- a cut into the real and against representative measures --- appears equally inverted in Marquis's work. Whether by wounding the imagistic real in the form of discrete snippets, or floor to ceiling slashes in digital prints, or even the aggregate effects of wounded and scratched surfaces atop a material substrate, Marquis wants us to closely examine the various substratum that organize our all to often closed and seemingly complete conception of what is going on in the world today. In other words, he wants us to scratch, tear and puncture our way to the real... by any means possible. And, of course, to overlook the presence of Flavin's iconic mode of illumination, which often sits adjacent Marquis's leaned, balanced and otherwise sliding material bodies in the gallery space, would be to miss both their dynamic interplay with, and across, other bodies in the space of the exhibition as well as the intertextual play of allusions to the atmospheric changes going on outside.

    And yet, what seems most essential to the way that Marquis work operates is in understanding how the discourses which once traded representational means for medium specificity in the twentieth century can be reclaimed in the twenty-first without having to abandon the varied histories associated with aesthetic achievement. That is to say, while the twentieth century saw the greatest proliferation of personal forms of expression, maybe ever, during the modern age, they were in large part a kind of collective acting-out over and against the brutal process of sublimation associated with industrial labor.  Juxtaposed against this background, the twenty-first century appears to be something like a period of ablation, or an era where the melting away of our illusions about the expropriation of body, the self and the environment has finally thawed, along with the pursuit of the "the new" in art. If anything, this is our cultural sea-change and Marquis is one of the most interesting expeditionary artists trying to cover this once hidden territory as the very moment that it emerges as a new ground level paradigm. 

     

     

    As such, his inversion of the visual tropes of modernism and even postmodernism for that matter, both of which still hold to authorial intent or its subversions as the status quo of criticality in art production, are here put in question vis-a-vis Marquis's working program of viewing the senses as a form of extraction that is co-extensive with the very act of perception itself. Thus, we can say that to depict perceptions, or to transpose our deepest intimations about a subject is always already a shared act in Marquis's work, just as his oeuvre can be considered part of a new generation of artists that have taken up the charge of rethinking the consequences of phenomenology beyond Husserl and Ponty's deductions. This post-anthropocentric view is one that places the object's we encounter in strange exchange without perceptive privilege, or what many now call a more object-oriented approach to understanding the flat ontology of roles we all share in an interconnected world. We are all now, for lack of a better word, active-agents in a world of shared consequences.

    And of course, Marquis is fully aware of these consequences in relation to living in one of the least sustainable climates in the continental U.S., where our growing cities have become "heat-islands" and our mountain preserves might not just be a national reserves of sorts but, ultimately, what preserves our nation in the end. Thus, we can say that Marquis's work addresses both the peaks and valleys of art history as well as what it means to live life in the afterglow of peak oil, with so many growing valleys left dry by erosion and rapid climate change stretching out before us. Visualizing this new notion of "the catastrophic sublime" that imagines living in a world without us is one of the monumental task of our times, and Marquis's work does not shy away from the need to rethink such relations, whether they revolve around the dialectics of earth and self, consumption and subsumption, organism and cosmos. We are afterall, now living within the horizon of a global village this is just as much about being in dialogue with the fellow villagers as it is the globe we live on. This is becoming the dominant paradigm by which we are all fed, nourished and kept alive on the small blue planet that we inhabit together somewhere in the backwaters of the Milky Way, as so many Earth Eaters.



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