These site-specific works were shown as part of Glenlily Grounds, an annual sculpture and installation exhibition in Newburgh, NY organized by Lacey Fekishazy in 2015 and 2016.
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.
At a 2013 lecture, David Joselit spoke on “how we can think of the picture as a sort of spatial entity through its circulation.”
The Thousand-paged, collectively-read Newspaper is an interactive sculptural work which combines landscape and publication. I visited Vermont during it's bleak "mud-season" to interview staff at the Burlington Free press and to travel the countryside, documenting its wooded vastness. The paper’s content includes poetry that evokes the sense of isolation engendered in a rural context, alongside drawings of sheds and other hand-built backyard constructions: decapitated objects floating solitary and fragmented throughout the thousand pages. The sparse layout mirrors that of any northern U.S. inhabited rural landscape. When a viewer leafs through what may seem an endless grayness, they discover printed, drawn and collaged visual and text content. No single viewer could likely read through the whole piece in a sitting, so the paper is collectively read.
With this work, I draw a visual connection between two 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.
This piece was exhibited at Interstate Projects from August 2nd - 14th, 2013.
Thousand-Paged Newspaper 2013 digital print, pencil and collage one thousand pages of newsprint. Table: mdf and acrylic. Looped digital projection. paper component: 8H x 30W x 22.75D inches
Once captured, the video is projected onto a wall. The wall carries objects selected to respond to the sensation of experiencing the video’s documented moment. These objects are more like surfaces than symbols. They help translate the experience into a rectangular, two-dimensional representation. Then, surfaces are brought into three-dimensional space to suggest the dynamism of experience. Reflective surfaces do their part to bring the experience to more than one dimension. Occasional imagery is incorporated to refer back to a sense of self-consciousness. An image of a mouth may stand, for example, for the sensation of being aware of one’s mouth. These images are disembodied and dislocated to remind of the sense of not knowing exactly where one’s mouth is.