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Enough With The Floor Tiles

Oct 09, 2013
by Caroline Miller
"The Bear Chair", "Warning Art On View", "What's the Difference between Casanova and Jesus: The Facial Expression", Andy Warhol, Anne Appleby, Barry Johnson, Mondrian, Portal
6 Comments

The other day, the mail brought the latest edition of Portal, a glossy magazine published by my local art museum. Browsing through the pages, I came across two articles of interest. The first was a critic’s essay defending an exhibit that angered several patrons, material which, they argued, was more akin to blasphemy or pornography than art. The second article announced the winners of the 2013 Contemporary Northwest Art Awards.

 I read about the art controversy first. “Warning Art On View,” by Barry Johnson provided the standard argument for controversial exhibits. Art has a right, if not an obligation, to shock and puzzle, he said. (“Warning Art On View,” by Barry Johnson, Portal, Vo. 2, Issue 4, pgs. 21-25) In this case, the two pieces he was defending did both. The first, What’s the Difference between Casanova and Jesus: The Facial expression was a sculptured piece that displayed a frog hung Christ-like on a cross. The second, The Bear Chair, was a 3 dimensional installation of Goldilocks and papa bear, characters from the 1837 story by Robert Southey. In this version, however, papa bear was terrifying and sexually abusing his child-prisoner.

 Speaking to viewers who were upset by the renditions, Johnson reminded them that Aristotle defended Greek theater because of its ability to provide a cleansing catharsis. I don’t equate shock and anger with catharsis, myself, but neither do I quarrel with the author’s point. Sometimes shock and anger are required to force an audience to open its eyes and look at the world with a fresh perspective. Where I part company with him is his willingness to tolerate art that leaves us cold or blank. (Ibid, pg 23)

 Cold or blank is exactly how I felt when I turned the page to view the works by winners of the Contemporary Northwest Art Awards. Frankly, seeing another rendition of floor tiles or a bookcase presented as found art invited me to do nothing but yawn. When are the aesthetes going to tire of empty simplicity? Shocked we may have been the first or even second time simple ideas were simply presented. Andy Warhol surprised and puzzled us with his soup can. Mondrian dazzled some with his countless iterations of floor tiles. But let’s be honest, once the novelty has passed, we expect our artists to move on.

Abstract art squares

 

 

 

(Courtesy of artnet.com)

 

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6 Comments
  1. Louise Labby Carroll October 9, 2013 at 12:48 pm Reply
    Ok, but let's admit this: it got you to write about it. I'm neither agreeing nor disagreeing, but even if an art piece leaves you feeling "cold or blank", you are still reacting to it.
    • Caroline Miller October 9, 2013 at 1:52 pm Reply
      You have a good point, Louise. But I don't think of "cold or blank" as a reaction. I call it being dead. Ha ha.
  2. tuna cole October 9, 2013 at 4:22 pm Reply
    One wonders about the variety and aesthetic content of the competition for the NW Contemporary Art Awards--and perhaps the criteria/mind set the so-called judges employed--to arrive at the fairly plain, standard floor tiles (pictured) as winner...
    • Caroline Miller October 10, 2013 at 6:46 am Reply
      Yes, you raise and interesting question. It would be fascinating to know what thought process goes through those judges' heads. No problem with understanding your novel, Ragnarok Tuna. An interesting premise. Haven't finished it yet but am enjoying where it is taking me.
  3. tuna cole October 10, 2013 at 9:35 pm Reply
    Caroline, Thanks for being so encouraging (re: "Ragnarok")! I hope you can attend my reading next Thursady, Oct 17th, at "Rain or Shine coffee shop (60th & Division), 6:30 to 8 pm...
    • Caroline Miller October 11, 2013 at 6:52 am Reply
      Thanks for invitation. Can't make that one but anyone in the Portland, Oregon area might enjoy attending. Good luck.

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Contact Caroline at

carolinemiller11@yahoo.com

Portland, Oregon author Caroline Miller had distinguished careers as an educator, union president, elected official and artist/advocate.

Her play, Woman on the Scarlet Beast, was performed at the Post5 Theatre, Portland, OR, January/February 2015

Caroline published a serialized novelette, Marie Eau-Claire, on the website, The Colored Lens.  She also published the story Gustav Pavel,  a parable about ordinary lives, choice and alternate potential, on the website Fixional.co.

Caroline has published four novels

  • Ballet Noir
  • Trompe l’Oeil
  • Gothic Spring
  • Heart Land

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