Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Venue as Artistic Persona

AA
View Discussion
Gloria Knight, Werk, 2013, detail, as installed at Gloria Knight Gloria Knight, Werk, 2013, detail, as installed  at Gloria Knight Gloria Knight, Werk, 2013, detail, as installed at Gloria Knight Gloria Knight, Werk, 2013, detail, as installed at Gloria Knight Gloria Knight, Werk, 2013, detail, as installed at Gloria Knight Gloria Knight, Werk, 2013, detail, at Gloria Knight Gloria Knight, Miami, 2013, digital print, artboard, frame Gloria Knight, Werk, 2013, detail, as installed aat Gloria Knight Gloria Knight, Werk 1, 2013, digital print, artboard, frame Gloria Knight, Werk 2, 2013, digital print, artboard, frame Gloria Knight, Werk 1 and Werk 2, 2013, detail, at Gloria Knight Gloria Knight, Werk, 2013, detail, as installed at  at Gloria Knight

So what is the artwork being presented? Is it the installation in this gallery? A white-walled sleeping space for travellers, with cream curtains and a sliding door mirrored wardrobe? Or is it the traveller or tourist herself and not so much the environs; her speculated on corporeal existence - without the space and its decor. An artist presenting themselves as a living artwork like Billy Apple or Christchurch's Wizard.

Auckland

 

Gloria Knight
Werk

 

10 October - 26 October 20013

Assuming you’ve noticed the doubling up above between venue and exhibitor - it is not a mistake - the question here is….what? Can the gallery become the artist? Is it a send up of Peter McLeavey and other dealers who occasionally have imposed their own personality on various artists’ hang, or is it more a post-structuralist thing where in general terms, the place where you reside or display your work creates you? You are where you live? Your gallery is your art? L-i-t-e-r-a-l-l-y. Your creative personality is embedded within your exhibiting venue and site, moulded by them.

Gloria Knight the gallery is run by a committee whose collective input has resulted in Gloria Knight the artist. Werk means ‘work’ via Dutch, Africaans and obsolete English; an artwork that when you visit it, seems to be a hotel room where somebody has slept in the lefthand side of a double bed, and left a used towel on the settee. There appears to be a woman’s hair on the pillow, and no evidence of anyone else.

So what is the artwork being presented? Is it the installation in this gallery? A white-walled sleeping space for travellers, with cream curtains and a sliding door mirrored wardrobe? Or is it the traveller or tourist herself and not so much the environs; her speculated on corporeal existence - without the space and its decor. An artist presenting themselves as a living artwork like Billy Apple or Christchurch’s Wizard.

The difficulties of determining the precise location of the art in the Gloria Knight scenario get compounded by the fact that two framed digital prints on the bedroom wall are signed by Gloria Knight herself. So this raises questions about manipulated context, and what the bedroom (with or without its mysterious hair) adds to the prints. Is it like the way, for example, the American painter David Reed inserted two of his paintings into a bedroom scene within a video of Alfred Hitchcock’s movie Vertigo, and placed the film, its monitor and the original paintings in a bedroom installation?

Or - outside of David Reed’s aspirations to be a ‘bedroom painter’ - we could speculate on the hair and the prints. Or ignore them. Perhaps there is an Apple-esque ‘bartered’ relationship going on where the artist donated artworks in return for free accommodation.

Another angle is the relationship between the framed digital prints (Werk 1, Werk 2) and the two paintings they were made from - photographed then discarded perhaps - before being posted online to be later found by eagle-eyed Gloria. Only the multiples remain, to be sold to hotel chains like this - as appropriated Gloria Knight ‘originals.’ So like these images, the Gloria Knight brand itself is a product where the authentic or original is impossible to locate. There never was such a person, and even if the committee members as artists were to be analysed (their practices), the Gloria Knight art persona they communally devised is still a separate entity not necessarily linked to their own taste, collectively or individually. Somebody else (a friend of a friend of a friend) may have suggested this idea. There doesn’t have to be a causal connection.

John Hurrell

Print | Facebook | Twitter | Email

 

This Discussion has 2 comments.

Comment

Ralph Paine, 4:55 p.m. 25 October, 2013

Welcome to the void, the silence.

Exit through the Internet.

Download a copy of Inside the White Cube.

Reply to this thread

Recent Posts by John Hurrell

JH
Kimsooja, A Needle Woman, 2009, video performance, 25 mins, loop. Still. Courtesy of FMAC, Axel Vervoordt Gallery and Kimsooja Studio

Foot on the Brake

TE TUHI CENTRE FOR THE ARTS

Pakuranga

 

International group show of sixteen artists
DE-celerate



5 September - 29 November 2020

JH
Installation of Joyce Campbell's 'On the Last Afternoon',  looking Galleries Two, Three and the Foyer. Photo: Sam Hartnett

Compact Joyce Campbell Survey

TE URU

Titirangi

 

Joyce Campbell
On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell


19 September - 22 November 2020

JH
Wayne Youle, the nurturer, 2020, mixed media, collection of the artist. Photo: Sam Hartnett

Youle on McCahon and Art History

TE URU

Titirangi

 

Wayne Youle
Elevation


26 September - 29 November 2020

JH
Installation of Rebecca Wallis' With the Absent Other at Scott Lawrie.

Wallis Abstractions

SCOTT LAWRIE GALLERY

Auckland

 

Rebecca Wallis
With the Absent Other

 

31 October - 21 November 2020