On the anniversary of my first Curatorial Idol (okay, I’m a couple days late), I present to you: Curatorial Idol 3.
I’ve been sitting on this since a month or two after I released the first Curatorial Idol last year. The premise is still the same. If I could convince a gallery to let me curate a show and persuade some top notch artists to participate in it? This would be my (next) show:
Allow myself, to introduce… myself!
In school, my modus operandi was self-portraits. Even though I dabbled in a variety of mediums, I think some people couldn’t get past my visage being used in the works. Then in February of 2006, I visit Angela Fraleigh’s show at Women and Their Work. So I worked up the nerve to ask the artist why she uses her own face in those works. She responded with, “It works for me.”
And it is this use of the most immediate person available to an artist that interests me.
On the first wall, Angela Fraleigh would represent, not with her viscous oil paintings, but with her just-as -striking watercolor studies. Her paintings embody tensions between genders, violence vs. intimacy and representation vs. non-representation. You still get that, but they’re all in the same marks in the watercolors. The eyes are even more intense with the flesh oozing and melding together.
On the next wall would be Amber Hawk Swanson. More intensity as Swanson’s project also explores sexuality and violence. The latest info on the project showcases the public’s reactions to the doll itself, when it was suggested to originally pull from pop culture’s movie rape scenes.
Being in Austin, people are going to draw comparisons to Jill Pangallo. Although “Note to Self” was scary awesome, Pangallo’s “Some Lady…” series is most appropriate. They tap into a reality show voyeurism and internet stardom syndrome that’s given direction to plenty of Gen-Y marketing efforts.
Using stardom and marketing/promotional strategies, Fahamu Pecou will follow on the next wall. Not only does Pecou skewer images of young Black entertainers, he pokes at Artworld celebrity and success.
I’m not very familiar with Michael Smith’s work. But thanks to the Blanton, I got to see a whole bunch of it last year. A lot of the older work had this weird deja-vu familiarity to it. Thanks to memories of SNL and Mister Rogers, I felt most comfortable with the “Mike’s House” set and would screen “It Starts At Home”. Linking him back to Fraleigh’s comment, Smith said in an interview, “…I didn’t want the humor to be at the expense of someone else, I wanted it to be at the expense of my character and/or me.” The failures of “Mike” make him a non-celebrity, an everyday guy.
And if you’re an everyday guy, then you’re talking ’bout everyone. That’s who Mimi Kato is. At least that’s who she is in her tableaus. Digitally composed so she is able to act every part in her plays. Always by herself, but never alone.
I’ll tell you ’bout what I sees.
*I’m a sneaky bastard. Again, without permission but with the utmost respect, all images were taken from their respective artists’ websites. Please don’t send G-Man after me.