For my Q1 Experience assignment, I attended the First Friday Art Walk in Downtown Richmond. It was amazing to meander around with two friends who are also passionate about art and soak in the galleries together. Most of the artworks did not appeal to my particular style, but I made a conscious effort to appreciate the artist's initiative. Below are some images from each of the three galleries we attended: The Institute for Contemporary Art (ICA), Artist Downtown Access (Ada), and Black Iris Gallery. The ICAThe atmosphere when we first entered the ICA was intensely chaotic and alternative. There was a DJ, party lights, and people in metallic wigs were milling about. We looked around the exhibition on the first floor. I could definitely tell that the works were contemporary because they were obviously much more conceptual than earlier art movements generally were. I do not have an image of it, but there was one installation which felt especially controversial to me. It was a video of a man army - crawling 22 miles to the Statute of Liberty. It took him five years, including his extensive research of various crawling techniques. I was appalled. The most interesting part of the whole installation, I think, was the part in the Artist Statement where it mentioned how, as he was crawling along the congested New York sidewalk, he was largely ignored. That aspect of his project was interesting because of what it implies about the ignorant and narcissistic nature of modern American urban life, but I was otherwise not impressed. It makes me feel guilty for thinking that his art is "lesser than" physical works because there is no application of formal skill. I understand that this notion of what defines "Art" is controversial and maybe even insulting for other people, but it's just a result of the value I have personally assigned to mastering traditional techniques of observation and realism. Now that I am thinking about it, though, that isn't a fair comparison because performative and applied arts are similar, not parallel. Still, I do not feel compelled to study crawling... The other works displayed in the ICA were generally interesting. Untitled (Colored People Grid) is a clever play on words, with the 'colored people' paired with the 'colored grids.' Just removing one word from the title gives the piece an alternate connotation and central point, which I appreciate. I like how the content is amorphously expressed, as if the artist is guiding the viewer's response in a general direction, but not in an overbearing manner. Sedrick Chisom's appealed to me in color scheme; I tend to work in pinks and blues. Plus, I like the weathered feel of the darker piece; I feel like I am viewing the piece through a water - streaked window. I have no clue what the purpose of the neon lights is, but obviously Shreya, Ria, and I enjoyed its effect. Ria pointed out how it was cool that the wires were left exposed, which I honestly had not even considered until she mentioned it. This exhibition further encouraged me to explore the conceptual aspect of my current pieces, as well as continuing to include vibrant pops of color. It would thrill me to include neon lights, but I am not sure how feasible that goal is. Nonetheless, I am glad for the experience. AdaAda had a much more mellow vibe than the ICA, as if the artists were more subtly alternative. Both Chris Musina and Sarah Trigg had places where they physically wrote their names on the wall beside their works, rather than having a printed label. I absolutely love the intimacy of this act because it feels so personal and much more engaging than a monotonous and austere matted artist statement. This doesn't mean that I do not appreciate the formality of traditionally presenting information about the artist (because I do), but it has inspired me to consider using the physical gallery space as part of my installation. Like, what if I created a work and then wrote my coordinating poem / reflection directly beside it?? That would be so edgy. Most of Sarah Triggs's works were very earthy and abstract, which Shreya and Ria both enjoyed. I was not a fan, but I was impressed by her creativity in using the hardened layer of house paint in her paint cans as the materials for her Cast Paint series. Plus, her focus on worldliness is evident throughout the whole gallery. Black Iris GalleryIf ICA is for the overt oddballs and Ada is for the mellow hipsters, then Black Iris Gallery definitely appeals to the grunge alternative crowd. The artists are two bearded, flamboyant old men (they were milling about the gallery and talking to people), and it was hilarious in an awe - inspiring way; like, wow, the world is so much more diverse than I know. It fascinates me how beautifully chaotic and wondrously weird people are, and even more so when they are comfortable enough in their chaos and weirdness to express it (although doing so in a deliberately ostentatious manner is off - putting to me). Anyways, I found many of these works entrancing in a disturbing manner, like you know that what you're seeing is tragic and you should look away, but something compels you keep looking. Also, the titles of the works fit the content wonderfully, which has inspired me to continue to carefully name my works, rather than rattling off a name just to be done with it (I do not do this, but I just mean that I do not want to fall into that habit). For example, there was one colorful piece done in oil and wax titled "Oh Happy Day," and I immediately began singing the gospel hymn in my head. However, this tune was absurdly incongruous with the distorted figures and pock - marked hands. I would not personally want to create works with such a dark connotation, but I am able to appreciate their distinctive artistic expression.
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