Sonic Architectonic: Opening Reception
Friday, January 27, 2012,
6:30 p.m. – 8:30 p.m.
Monday - Friday . . . . . . . 9 a.m. to 10 p.m.
Venue: Visual Arts Building
Season: 2011-12 SONIC ARCHITECTONIC is a mixed media exhibit exploring the architecture of sound in art. Some of the artists work directly with noise, frequency, and what we hear or feel through sound waves. Other artists work above or below the threshold of hearing, wielding images that suggest sound. Yet others anticipate our relationship to sound, addressing our expectations and cognitive reflexes. The exhibit features national and local artists and will open with reception Friday January 27th (reception 6:30 p.m. - 8:00 p.m.) Visiting artist
Brad Tucker will share a lecture of his work Friday January 27th at 10:00 a.m. in AS 1.116.
Jill Auckenthaler in collaboration with Sarah Phillips
The artists utilizing real sound with their visual works or as their artwork include Jill Auckenthaler, Paul Slocum, Brad Tucker, Stephen Lapthisophon, and Frank Dufour. Musician/artist Jill Auckenthaler in collaboration with Sarah Phillips (Brooklyn, NY) will exhibit a work on paper and provide headphones for listening to that work. What my schedule sounds like is both an instrumental score for an atonal sound piece and a watercolor and graphite work on paper. (The visual and audio notation evolved from seven categories of her daily activity including “work”, “studio”, and “sleep”.) Paul Slocum, a New York based artist, programmer, and composer will direct UT Dallas attendees to his iphone and ipad app, Magic Carpet, an enigmatic composition of hypnotic video images and sound. Brad Tucker, from Austin, TX, is creating Bagdad Bass Club, “a sound and object installation that combines videotaped music performance, customized audio equipment, handmade plastic records, small TV’s and quasi-sculptural/spatial intervention in the service of ambient music composition of thumping and intermittent bass sounds.” Imagine paper letters B, A, G, D, A and D spinning on a variety of disks while musicians watch, sight-read, and play the spinning notes as musical scores --performances which are then recorded and made into handmade plastic records --and that describes only part of the artwork. Local Dallas artists Stephen Lapthisophon and Frank Dufour will, in separate pieces, direct sound into the gallery to inhabit, transform, and be transformed through the architectural space of the gallery. Frank Dufour will work in collaboration with Nancy Rebal and David Searcy.
Invited artists Eugene White, Derrick Buisch, John Pomara, Diane Fitch, Leslie Wilkes, Robert Ortega, Elizabeth Mead and Uschi Weissmueller will open the sound dialog in various visual ways using painting, drawing, sculpture and graphic design. Eugene White makes small paintings of, for example, a 70’s Mustang or old Chevy truck as encountered in the humble everyday street settings of his Wisconsin city, somehow eliciting the engine revving of these cars as echoed by our American culture. Diane Fitch, living and working in Ohio and Vermont, paints a figure playing a guitar next to his brother playing video games inside the exquisite, maze-like architectural interiors of her bungalow. She says, “I want rather to capture them in the act of being themselves, doing something that reveals the person. I never however paint portraits that focus solely on the person. I am interested in the figure in a space, in how the figure occupies the space, how he or she echoes other visual rhythms, or creates a contrast to the geometry of the interior.”
Wassily Kandinsky, the late Russian painter and art theorist (1866-1944) suggested in The Art of Spiritual Harmony (London 1914, Constable) that certain tones of yellow sound like “an ever louder trumpet blast or a fanfare elevated to a high pitch.” While we don’t have Kandinsky around to analyze the large abstract paintings by Leslie Wilkes (Marfa, TX) or John Pomara (Dallas, TX), we might cajole our own inner synesthesia to allow us to hear colors and shape, or wonder why some visual works of art lend themselves to this game. Works by Robert Ortega (Brooklyn, NY), interested in patterns and “how to graphically relate light wavelength to audio frequency”, might share kinship with the Theosophists Annie Besant and Charles W. Leadbeater, who were also interested in making the invisible visible. Their publication Thought-Forms (1905) includes a discussion of Ernst Chladni’s scientific investigations in which a glass plate covered with sand produced unique geometric patterns when a violin bow was rubbed against it and caused the plate to vibrate. Visual compositions that contain explicit vowels or letters, such as those that appear in paintings by Derrick Buisch (Madison, WI), produce sound as we “read” or “sound out” the visual typographic cues.The final component of this exhibition’s discussion might be Elizabeth Mead’s large color drawing and copper piece installation, which distill a response to nature as provided by her Virginia woodland canoe trips and evoke silence (or, is Nature really silent?)
Curated by Lorraine Tady.
Visual Art Building hours:
Saturday . . . . . . . . . . . . . 9 a.m. to 6 p.m.
Sunday . . . . . . . . . . . . . . Closed
For more information contact:
Arts and Performance Office
Monday - Friday . . . . . . . 9 a.m. to 10 p.m.
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