although i couldn't make it to the opening, i just checked it out and it was pretty cool.
the description inside the gallery reads:
"We desire beautiful things, and yet we discount them.
Beauty has been so exploited as a means of manipulation
in contemporary society that we have learned to mistrust it.
Consequently, we denigrate qualities that create the experience of beauty:
pattern and ornament are scoffed at as mindless; carefully crafted
objects are dismissed as elitist; lush and pristine surfaces are considered superficial.
We have allowed the abuse of beauty to blind us to its richness of meaning.
The works assembled here bring that richness back before our eyes,
and compel us to contemplate all that beauty can encompass: the fluid
boundaries among natural and artificial; eye, mind, and body;
self and other; form and nothingness."
the first room of the exhibit was a series of beautiful patterns on the walls but, unfortunately, i couldn't really look at them because they were made of giant bugs so it was pretty much my worst nightmare; Miriam Beerman was a walk in the park compared to this.
the room that i really enjoyed was the third and final room with Tony Orrico's work that i'm really disappointed i didn't get to see in action.
|images of work by Tony Orrico in the Wriston Gallery|
his work is extremely active but at the same time looks totally controlled because of the repetition.
in a way i think that his work really relates, in a very literal way, to the idea of production in Simulations.
i wonder, though, how Tony's intentional production of one (master) piece at a time relates to Baudrillard's idea that "what society seeks through production, and overproduction, is the restoration of the real which escapes it." (pg 44)
are Orrico's works anything less than real if they can never truly be duplicated, not in the same way with the same people feeling and thinking the same things.
maybe Tony Orrico's works are some of the only real works i or we have ever seen.