The First Art Newspaper on the Net   Established in 1996 United States Tuesday, June 25, 2019


i8 Gallery opens an exhibition of works by B. Ingrid Olson
Installation view.

by Andrew Blackley


REYKJAVIK .- What happens at the intersections of mise-en-scène, l’esprit de l’escalier, and mise en abyme? Or better yet: what happens when an art-making practice extends beyond those tools of which we’ve become accustomed? Pushing back becomes a launching off. Or, per Ezra Pound through Rosemary Waldrop: a center around which, not a box within which.

It is a rare measure of success when the vocabularies a viewer might draw upon to alleviate the effects of phenomena are themselves destabilized. B. Ingrid Olson’s work to date has troubled the divisions of media classification: while at once so much more than “sculpture and photography in architecture,” the work is, of course, mostly sculptural, often photographic, and always architecturally-situated. And yet, the most fitting description doesn’t describe much, seems to not fully fit—to use it at this point is to do so for traction alone. While it is true that the work deserves attention through distinct frames (or lenses, or contexts, or traditions), it is doubly true that these two severed halves (the sculptural, photographic) might combine back together (in-exhibition) so as to produce a fullness that exceeds the whole. If in the exhibition we approach the sculptural and photographic works as fundamentally distinct, then perhaps we are mirroring—making symmetric, folding together—their individual approaches.

When two people talk, a third voice emerges. As this voice emerges from the conversation, in some ways this is the first voice. It is in this way that discourse argues against the perpendicular, which is to say temperaments and their sway work against junctions. We explore halves and wholes: just as the way in which equivocation can be identified as equating two different meanings of one word, or, an argument that uses one word to mean two different things, the lines we follow in Olson’s work emerge from an unfolding rather than from a mark-making. If, per Anne Truitt: Here, where my pencil touches the paper, is the place at which a body holds itself intact, Olson might mark the moment wherein the body—hers? ours?—becomes half-strange, bisected, all the while dual, open, un-halved.

As Olson’s work unfolds, it produces a version of symmetry that disputes equality. The work engenders the slip, an equivocation, a sliding of halves. In this field—itself material and scopic—everything is an object (and to those who object: please prove otherwise.) A more unsteady proposal is to say that everything seen—that is everything under the sway of sight—is a picture. Everything that operates as an image is sited by the lens, be it the mark of the shutter of the camera or the mark of the blink of the eye. This exhibition prioritizes differences between the singular and the synthesized, between the monocular and binocular respectively, both of which fold and unfold in ways more novel than any bio/mechanical distinction between lenses of glass or flesh. For Olson, photography seems a set of now-fixed alternative events that occur under the survey of the monocular apparatus thereinto presented for the binocular viewer.

The edges of Olson’s photographic objects (Plexiglas, dye sublimation print on aluminum, MDF) extend out from the wall to the viewer like blinders, corralling them one at a time, providing direction for singular events of looking. Any greater focus of vision would require a strapping in. If to any recognizable degree the photographic continues to retain a general factuality, then it would be the case that one of the projects of Olson’s photographic work is to summon multiple truths simultaneously: why else would the artist insist on the image of the mirror, a mirror verifying nothing for the viewer save its utilization by the artist? To fix the mirror, which is to picture static something that, at its core, exists as the site of full reflexivity, is a decision that reminds the viewer of the limits of their reach. The temperament of assuredness relies on the collection of many half-truths.

The images and sculptures alike are interruptions: they interrupt both space and the cohesive visuality. It is because they use the familiar anew that their prevarication—their parallelism—operates in a way that creates a theatre-space out of determinism, which is life lived under architecture. There are some things one can’t unsee: we change. As for the sculptural works (which is to say, the works without photographic output), their genesis, and their presence, is a sight unseen, a thing soon scened. Their being in space cannot be undone: again we change.

The sculptural works in this exhibition each affix to a plane, they disrupt the wall, using it as a site from which to grow. And yet its opposite: The grain of sand, the irritant, initiates the pearl, it is the mollusk that produces it. Olson’s sculptures catalyze the viewer, they challenge the smoothness of experience, materializing and atomizing both architecture and its opposite (ambiance) contained therein. The sculptures emit as much as they exist. On the one hand, the sculptural works use as fuel—which means: they burn—ambiguity. They are both a disruption and a feature; they present an opportunity like a fork in the road. On the other hand, they insist on existing as fact, commanding, commandeering, the concrete. Artists often work at the apex of these pulls and sways, though might it be the case that in Olson’s work, we see the coexistence of these temperaments, the acceleration of these modes as dually original. These works surface from a studio methodology that might not automatically privilege the cast over the mold or the print from the plate. Between the photographic and the sculptural, Olson’s full body of work itself gives us the tools to consider two independent, yet simultaneous strands of thought. Or, as written by Gertrude Stein: Act so that there is no use in a centre.

Some things cannot be condensed or speeded up. These things—exhibitions, practices, questions—spread in a motion that ascends from the individual velocities and trajectories of the objects—artworks, exhibitions, answers—from which they are built. This larger spread is located in its sway; it prefers the act over the border: if it includes you, you’re under it. If you can see it, you’re out of it.





Today's News

June 13, 2019

Summer Exhibition 2019 opens at the Royal Academy of Arts in London

The Colour Palace is revealed

Sotheby's announces an auction coinciding with WorldPride NYC & Stonewall Uprising anniversary

The most famous car in the world: RM Sotheby's presents James Bond Aston Martin DB5

Freeman's sets a new world auction record for Philadelphia artist Cecilia Beaux

Rago and Wright are joining forces

The J. Paul Getty Museum opens 'Reading Between the Lines: Drawing Illustrations'

Solo, yet tutti: App puts orchestra in your living room

photo basel brings together 41 exhibitors from both emerging and established galleries

Edwynn Houk Gallery opens a solo exhibition of recent work by Gail Albert Halaban

'ART On The Mind': Leading contemporary artists donate work to help homeless charity

Exhibition celebrates the beginning years of historic San Francisco gallery.

ArtTech-Innovation: Award-winning Swiss app leads the art world in the age of the smartphone

The New York Botanical Garden opens its largest botanical exhibition ever

Illustration art at Swann delivers strong prices

Valentin Loellmann opens a solo show at Twenty First Gallery

Exhibition sheds a new light on the heritage of the opticokinetic art movement

Significant Manis Mastodon Collection donated to Washington State Historical Society

Asian Art sale at Christie's Paris achieves €7.8 million

Clarachurch Basel presents a selection of works by Heikedine Günther

Thomas Del Mar to sell important private collection of arms & armour

i8 Gallery opens an exhibition of works by B. Ingrid Olson

Architectural Heritage opens summer exhibition of modern British sculpture & drawings by sculptors

The Institute of Contemporary Arts presents a newly commissioned permanently sited work

Most Popular Last Seven Days



1.- Art of early man found in the greatest meteor crater on earth

2.- Exhibition celebrates Helmut Newton's 50-year career through a rare and unseen collection of vintage prints

3.- World's most costly painting on Saudi prince's yacht: report

4.- Sotheby's celebrates the 50th anniversary of the Apollo 11 Moon landing with an auction

5.- Domaine de Chantilly exhibits Leonardo da Vinci's 'Nude Mona Lisa'

6.- New book offers front-row seat to greatest concert in history

7.- The New York Botanical Garden opens its largest botanical exhibition ever

8.- The most famous car in the world: RM Sotheby's presents James Bond Aston Martin DB5

9.- Mexico unearths what may be historic recording of Frida Kahlo

10.- Exhibition of Pierre-Auguste Renoir's paintings marks centenary of his death



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful