Scroll to see what’s up at the Worth Ryder Art Gallery! The interns talk about the bay area artists in this weeks exhibition; (processing) – Bay Area Artists and the Archive
Randy Hussong’s show (by Sosun Park)
Randy Hussong is faculty in Art Practice department. He teaches printmaking and sculpture.
He is well-known to a post-modern, late minimal, neo-dada, pop conceptualist folk artist etc.
Come to his special show! The Berkeley Arts Festival, 2133 University Ave, Berkeley CA, September 15th – Halloween
“Randy Hussong – Old Boots/ New Work
Sax blown, the penguin slipped on the freshly melted ice cap his friend the polar bear had recently bemoaned, and half-way around the world hence, round the gulf, there whirled a brass Dixieland bass line, boom-boom-boom. Up in New York, a rocketing pianist, sophomore at Johnson in her reflection. Overseas again, having defected, a great white menace blows the whistle, a Silent Gesture screaming across the sky, over Net Privacy. Herein lies the modern gorilla war. But still there exists a guerrilla 1%, capitalizing The Sonorous Buddha in Las Vegas colors. Put on your bright warm boots, step in, step up, tune in, or simply drop in.” – Randy Hussong
Interview with Danielle Schlunegger (by Hyesun Kim)
What qualities of a tent enhances the overall experience of your work (specifically, the current work at Worth Ryder)? How does the dynamics of the gallery space interact with your work? Does it bring the viewers inside or outside?
Walking into the gallery and immediately being confronted with the structure of the tent is intended to be a little jarring and overwhelming in a way that tries to inspire a feeling of curiosity- of wanting to know more. I am hoping to light that spark in people that causes them to feel a great desire to investigate, similar to how an explorer of the 19th century must have felt coming upon something so entirely unexpected. This allows the viewer to relate in a small way to Marcus Kelli. The tent creates its own environment, and the shadows of leaves on the tent are reminiscent of being outdoors and far from the inside of a gallery. The installation is meant to be immersive and being able to touch and hold objects helps to make the viewer slow down and feel transported to another place and time within the gallery.
What do you want viewers to take away from your work?
I hope to be able to awake curiosity in people, so that they walk away with a renewed sense of wonder about the natural world. For a modern person overloaded with technological responsibilities, connecting with nature can become a welcomed source of meditation and deep thinking. As our society shifts, we have reached a point where humans must make crucial decisions about the future of our planet. It is my hope that Marcus Kelli’s story can be used as a springboard for self-reflection on our relationship with nature and how we continue to shape it.
Describing the work of Heather Murphy in the current exhibition (by Julia Borrebaeck)
In this month’s exhibition, Heather Murphy constructed a highly modern take on how people are constantly bombarded with information on the Internet. She made three short videos filled with devastating news mixed with entertainment clips, depicting the sharp contrast between the two most common types of news. Besides her way of portraying this, through using characteristics from popular digital platforms such as tweets from twitter, she has also chosen an interesting medium. You have to connect your smartphone to one of three video specific Wi-Fi networks and then open the safari app to view the video. On display at the exhibition is essentially three routers, headphones and instructions how to access the videos. Just as the phenomenon portrayed in the videos, the videos themselves are “only virtually present in the space”. These two images shows the contrast between the entertainment icon Taylor Swift and an extremist environment.
Experiencing “Kalapani” (artist Andrew Ananda Voogel) (by Taylor R. McAllister)
In the back of the Worth Ryder Art Gallery are two tall onyx curtains as doors to another space. Curious viewers will not be deterred by what immediately follows them: a black room, so dark that one cannot see their hand in front of their face. “There has to be more”, is what runs through the minds of most viewers. And there is. Curiosity gets you in, but patience gives you the art piece. By thirty seconds of standing hyperaware in the dark, flickers appear on a previously indistinguishable opposite wall. At two minutes, the viewer is hypnotized by the rhythmic movements of a dark film that is barely there. Gentle pale white bands of light flow back and forth; with one’s eyes adjusted they can see the subtle details of waves rolling over the dark land, meeting other waves, and a rock in the ocean standing against them. The mood of “Kalapani” for me was one of mild unease and uncertainty, as we do not usually stand in such darkness. And even with one’s eyes adjusted to the film and space, it is still impossible to see what is further out at sea. It is a great wide unknown far more mysterious than when seen in daylight. There is a mild sense of being at the edge of a precipice. And yet, as I watched the movement of the waves was a visual lullaby of light that balanced that feeling. The repetitive push-pull motions maintained the well-known sense of breathing that the ocean gives, despite the darkness. In its own way, the video was both unsettling and meditative. And as contrary as it seems, these two opposites stem from the same elements of the piece: the darkness and the vastness of the ocean. Andrew Voogel’s work is a beautiful experience, and quite a view.
Text edit: And yet as I watched the movement, the waves were a visual lullaby of light that balanced that feeling.
Soey Milk’s “PIDA” in Hashimoto Contemporary (by Celia Chu)
Soey Milk is one of my favorite Los Angeles artists that I first discovered through her Instagram profile, @soeymilky. Her art speaks of self empowerment and exploration of the human body. Her mesmerizing perfection of detail line work and pressure
of the utensils to capture wide variations ofgradients. There is an elegance to her distinct yet abstract line work that plays well with the meaning behind each and every defined graphite pieces with the incorporation of oils.
I wanted to solely focus on her as a blossoming artist, as well as her most recent solo artist show, “PIDA” in Hashimoto Contemporary. PIDA is still open to the public by this Saturday, October 24, 2015. PIDA is an expression of growth, and more precisely – a blossoming effect. I personally see Soey Milk as a growing artist, and she captivates her audience with fine fabrics and mesh materials in her realistic pieces.
Cirrus is a mystical piece I encountered and is also being sold at the gallery space. The curvaceous depiction of a woman is filled with emotion from border-to-border all the way to the fine line details of the speckled hair on her head to her pointed toes. The essence of deep reds draping her torso to the slight touches of peachy pinks on the soles of her feet define the signature color palette of what reds signify; blooming. The remnants of color surrounding this whimsy piece is romantic and touches on a sense of renewal. The abstraction in the background does not take away from the piece, it only enhances the subject of this woman.
For more information about her work and talent, click here for her website.