I dug holes in the ground shaped like my arms and legs and cast them in plaster. While the plaster cured, I made two predictive charcoal drawings imagining how the underside of the casts would appear when unearthed. I then dug up the casts.
This site-specific work was shown as part of Glenlily Grounds, an annual sculpture and installation exhibition in Newburgh, NY organized by Lacey Fekishazy on September 26 & 27, 2015.
Angela Conant: Deuteranope was a multi-media exhibition of painting, projection, sculpture, and installation. Works were arranged according to their meaning in relationship to dark and light, inner and outer, consciousness and unconsciousness.
The Deuteranope painting diptych series are each comprised of one painting made in full-color, and a second painting which is formally identical but limited to colors visible to people with red-green color blindness on green-screen or TV-black painted surfaces. The paintings depicted plaster wall-mounted sculptures. These are casts of hand-drawn gestures in sand which were also on view and lit with red and green spotlights.
The video piece, Chroma Cast, is a fictional television news program that abstractly and sardonically explores the decline of objectivity in popular news media. This work, along with the installation, parodies television news through an interactive CCTV set and transparent application of humble materials.
Angela Conant: Deuteranope was presented by ICA Baltimore and hosted by Gallery CA from May 29th until June 14th 2014.
Beka Goedde, Rachel Ostrow and Angela Conant have worked closely together for some years on various projects. LUNCH was their first three-person exhibition. The small gallery was converted into a deconstructed lunch setting. The walls and objects found unexpected context. For example, hand-thrown and glazed plates by Rachel Ostrow were wall-mounted, while Beka Goedde's plaster objects, which normally find their home on a table, sat the floor. The work laid bare functionality or quotidian banality through humor and the surreal.
Sudairy gives Conant a driving lesson in Arabic. The “instructor” is from Saudi Arabia where women are not allowed to drive. The “student” is from the US where driving is very accessible, yet she got a license at the late age of 18 and hasn’t driven much since. Her license has lapsed and she now must go through the instructional process from the beginning. Echoing the absurdities surrounding their respective situations, the video features a fake car made of paper with an oil-on-canvas steering wheel, spliced with footage of a lesson shot in a real car.
Art historian David Joselit spoke on “how we can think of the picture as a sort of spatial entity through its circulation,” at a 2013 lecture.
The ousand-Paged, Collectively Read Newspaper,s an interactive sculptural work which combines landscape and publication. I spent time in Vermont interviewing staff at the Burlington Free press and traveling the countryside to document its wooded vastness during the bleak mud season. e paper’s content includes poetry that evokes the sense of isolation engendered in a rural context, and hand-drawn images of backyard sheds or other constructions photographed in Vermont:ecapitated objects floating solitary and fragmented throughout the pages. The surrealistic layout mirrors the inhabited rural landscape. When a viewer turns through what may seem an endless grayness, they come upon their own discovery of visual or textual printed, drawn and collaged content. single viewer could likely read through it in a sitting, so the paper is collectively read.
With this work, I draw a visual connection between two interconnected theories: that a culture’s complex environment of objects reflects human needs and priorities and, similarly, that publications and news media are a visual, two-dimensional manifestation of a set of desires and interests.